THE 

AM    E   IV  I    CAN 
STAG   E 


O  F 


TO- D  AY 


n    n    n 


B  I  O  GKAP  HI  ES 
AND    PHOTOGRAPHS 

'*  ^  ,  o  F      ^:;N^;.;-S. 

ONE    H  U  N  D  R,E  D 
LEADING 

ACTO   PvS       AND 

ACT  RE  S  S  ES 

-WITH 

AN    INTRODUCTION     BY 

WILLIAM  WINTEK  : 

n    n   n 

^  •     NEW     Y  O  R,  K 
P    F    COLLIEK    li    SON 
M    C     M     X 


Copyright,   1910,   by  P.   F.   Collier  &  Son 


THE 

A  M   E  K  I   C  A  N 
STAGE 

O  F 

T  O-  D  A  Y 


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George   Arliss 

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John    Barrymore 

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Blanche    Bates 

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Kyrle   Bellew 

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Edmund    Breese 

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Billie    Burke 

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Marie    Cahill 

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Mrs.  Carter 

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Gertrude    Coghlan 

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George   M.   Cohan 

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W.  H.  Crane 

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Henrietta    Crosman 

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Isabel    Irving 
May    Irwin 
Louis  James 

James    T.    Powers 
Ada    Rehan 
Hedwig   Reicher 

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Elsie  Janis 

Charles    Richman 

Bertha    Kalish 

Annie   Russell 

Doris    Keane 

Lillian    Russell 

Frank    Keenan 

Florence    Roberts 

Herbert    Kelcey 

Eleanor   Robson 

Wilton    Lackaye 

May    Robson 

Cecilia    Loftus 

Julia   Sanderson 

Louis    Mann 

Fritzi   Scheff 

Mary    Mannering 

Effie   Shannon 

Robert    Mantell 

Otis   Skinner 

Julia    Marlowe 

E.  H.  Sothern 

John    Mason 

Ruth    St.  Denis 

Henry    Miller 

Rose   Stahl 

Tim    Murphy 

Frances   Starr 

Alia    Nazimova 

Mabel    Taliaferro 

Carlotta  Nillson 

Charlotte    Walker 

Olga   Nethersole 

Blanche  Walsh 

William  Norris 

David    Warfield 

Chauncey    Olcott 

Walker   Whiteside 

James   O'Neill 

Hattie   Williams 

Nance    O'Neil 

Francis   Wilson 

Julie   Opp 

Olive    Wyndham 

. 

FOREWORD 


BY    WILLIAM     WINTER 

'Let  them  be  well  used,  for  they  are  the  abstract  and  brief  chronicles  of  the  time  " 


IT  IS  a  self-evident  proposition  that,  primarily 
and  naturally,  the  general  public  is  less  inter- 
ested in  the  Theatre  of  the  Past  and  in  the 
Theatre  of  the  Future  than  it  is  in  the  Theatre 
of  the  Present.  Laudator  temporis  acti  is  con- 
sidered a  bore  and  is  designated  "a  back  number." 
The  prophet  is  viewed  as  a  dreamer  and  is  dis- 
missed as  a  fool.  "The  present  eye,"  says  Shake- 
speare, "praises  the  present  object."  Yet,  probably, 
it  would  not  be  denied,  even  by  the  most  ardent  en- 
thusiast of  the  Present,  that  the  possession  of  ample, 
exact,  and  particular  knowledge  of  the  Theatre  of 
Yesterday  is  essential  to  persons  whose  vocation  is  the 
management  of  the  Theatre  of  To-day.  Theatrical 
history,  therefore,  it  can  be  reasoned,  possesses  a 
practical  value,  and,  because  of  its  practical  value, 
ought  to  be  fully  and  accurately  written.  Students 
of  the  Theatre  of  the  distant  Past  are,  meanwhile, 
aware  that  the  chronicles  of  it,  while  large  in  quan- 
tity, and  various  in  form,  are  diffuse  in  method,  often 
contradictory,  widely  scattered,  silent  as  to  some 
important  matters,  and  vexatiously  indefinite  as  to 
others;  and,  furthermore,  that  those  chronicles  are, 
for  the  most  part,  secluded  from  the  reach  of  all  per- 
sons except  antiquarians,  in  files  of  old  periodicals, 
or  on  the  dim  and  dusty  shelves  of  more  or  less  in- 
accessible libraries.  Such  students  also  know  that 
those  chronicles,  when  discovered  and  explored,  are 
often  found  to  be  unsatisfactory,  because  of  their  lack 
of  minute,  specific  information,  and  also  because  of 
their  ill-digested  opinion.  Various  adjectives  could 
be  found,  relative  to  Burbage,  Betterton,  Elizabeth 
Barry,  Barton  Booth,  Anne  Oldfield,  Garrick,  Peg 
Woffington,  Kemble,  and  Mrs.  Siddons;  but,  after 


long  and  careful  investigation,  the  most  discrimina- 
tive of  analytical  thinkers  would  find  it  impossible 
to  ascertain  in  exactly  what  manner  Betterton  acted 
Hamlet  or  Garrick  acted  King  Lear,  or  by  what 
means  Anne  Oldfield  fascinated  with  Lady  Townly, 
or  Mrs.  Siddons  broke  the  public  heart  with 
Mrs.  Beverley  or  Jane  Shore.  It  is  not  until  the 
student  endeavors  to  find  a  complete,  verbal  pic- 
ture, a  clear,  detailed  statement,  or  a  definite,  posi- 
tive conclusion,  in  those  old  theatrical  chronicles 
(such  as  Downes,  Langbaine,  Chetwood,  Victor, 
Genest,  and  even  Dunlap),  that  he  begins  to  realize 
how  bewildering  and  frustrating  they  often  are  and 
what  a  blessing  it  would  be  if  theatrical  history  had 
always  been  written  with  continuity  of  luminous 
narrative,  amplitude  of  precise  detail,  and  exactitude 
of  specification.  In  the  present  period  of  compre- 
hensive journalism  much  more  scrupulous  attention 
is  given  to  the  proceedings  of  actors  than  was  ever 
given  before  (though  it  should  be  noted  that  there 
are  useful  biographies  of  a  few  actors  conspicuous  in 
the  nineteenth  century),  and  the  printed  record  of 
those  proceedings  is  not  less  particular  than  volumi- 
nous. It  becomes  possible,  accordingly,  for  the  his- 
torian of  the  contemporary  drama,  if  he  chooses  to 
compel  himself  to  minute  observation  and  exact  state- 
ment, to  portray  the  precise  personality  of  cotaneous 
actors,  define  their  several  styles,  and  depict  the 
rationale  of  the  performances  by  which  they  have 
obtained  renown. 

It  is  essential  to  consider  that  the  Theatre  is  not 
a  building  or  an  aggregate  of  buildings  in  which 
theatrical  performances  are  given,  but  a  social  insti- 
tution, like  Literature,  or  any  other  form  of  Art.  The 


FOREWORD 


natural  phrase,  so  much  in  common  use,  "our  The- 
atre," possesses  a  very  positive  significance.  A  feel- 
ing exists  toward  the  Theatre,  and  has  long  existed, 
entirely  unlike  the  feeling  entertained  toward  shops 
and  commodities.  The  People  regard  the  Theatre 
as  a  part  of  their  mental  patrimony;  as  a  rightful 
possession ;  as  something  to  which  they  are  entitled 
and  in  which  they  are  intimately  and  seriously  con- 
cerned. Readers  of  the  history  of  Drury  Lane,  in 
London,  and  of  the  Old  Park,  in  New  York,  find  that 
feeling  manifested  with  peculiar  ardor.  In  recent 
years  and  in  American  cities,  on  the  other  hand,  the 
proclaimed  standard  of  theatrical  administration  is 
that  which  treats  the  Theatre  as  on  a  level  with  the 
mart  of  hides,  tallow,  pickles,  and  "notions."  Yet, 
strangely  enough,  it  has  been  judicially  decided,  in 
the  State  of  New  York,  that  admission  to  a  dramatic 
performance, — essentially  a  matter  of  barter  between 
manager  and  public, — is  not  a  commodity,  and  that 
the  huckster  who  vends  it  may  sell  it  to  one  and  with- 
hold it  from  another,  at  his  caprice,  and  that  after  it 
has  been  sold,  that  huckster  can,  if  he  likes,  prevent 
the  purchaser  making  use  of  it,  by  debarring  him 
from  the  theatre:  in  short,  that  the  Theatre  is  a  per- 
sonal, private  affair,  in  which  the  People  have  no 
rights.  That  is  not  the  view  taken  by  the  community 
at  large,  and  never  has  been, — for  the  decisive  reason 
that  the  Theatre  enters  into  the  every-day  life  and 
bears  directly  upon  the  mental  and  moral  condition  of 
the  public,  and  especially  upon  the  morals  and  lives 
of  the  young.  The  right  view  of  our  Theatre  is  that 
which  accounts  it  an  asset  of  civilization,  and,  as 
such,  protects  and  fosters  it,  keeping  pure  the  spirit 
and  keeping  high  the  intellectual  standard  of  all  that 
it  displays.  The  essential  matter  is  the  vital  prin- 
ciple, not  the  environment.  The  buildings  which,  in 
this  period,  are  provided  for  theatrical  representa- 
tions are  far  more  commodious  than  those  which 
were  provided  for  such  purposes  in  former  times,  but 
the  welfare  and  advancement  of  the  Theatre  do  not 
mainly  consist  in  the  bettering  of  its  habitation,  and 
cannot  be  measured  by  a  standard  of  mere  physical 
investiture:  as  remarked  by  Don  Pedro:  "My  vizor 
is  Philemon's  roof, — within  the  house  is  Jove."  The 
life  of  the  Theatre  has  always  consisted,  and  always 
will  consist,  in  the  development  of  the  Art  of  Acting 
and  in  maintenance  of  perfect  public  sympathy  with 
that  art,  and  these  are  matters  in  which  the  tradesman 


is  not  involved,  and  to  which  that  much  besought 
"regeneration  of  the  Drama,"  so  frequently  men- 
tioned, of  late  years,  as  the  sovereign  panacea  for  all 
theatrical  ills,  could  not  in  any  way  contribute. 
Good  new  plays,  of  course,  are  desirable.  There 
could  not  be  too  many  of  them.  But  we  do  not  lack 
"representative  drama."  Both  here  and  abroad  there 
are  as  many  plays  representative  of  current  phases  of 
actual  life  as  there  have  been  in  any  former  period, 
and  it  would  be  foolish  to  disparage  good  plays,  rep- 


ED  WIN      BOOTH 

AS 
HAMLET 


resentative  of  any  period,  from  any  source,  upon  any 
stage,  and,  most  of  all,  on  the  stage  of  an  heterogene- 
ous population,  in  process  of  being  blended  into  one 
people.  The  imperative  need  of  our  Theatre, — and 
it  is  imperative, — is,  not  more  plays,  but  better  Act- 
ing. The  relation  of  plays  to  Acting  is  analogous  to 
the  relation  of  colors  to  painting.  Without  colors 
there  could  be  no  painting:  without  plays  there  could 
be  no  acting:  but  the  loveliest  of  colors  are  useless, 


FOREWORD 


except  for  the  genius  and  skill  of  the  artist  who  knows 
how  to  employ  them,  and  the  finest  of  plays, — al- 
though, of  course,  they  could  be  read, — must  fall  far 
short  of  their  purpose,  except  for  the  genius  and  skill 
of  the  actors,  to  give  them  form,  voice,  light,  and 
feeling,  making  them  evident  for  the  vision  and  the 
hearing,  and  sending  them  home  to  the  public  heart. 


LAWRENCE     BARRETT 

AS 
CASSIUS 


The  corner-stone  of  the  whole  fabric  of  the  Theatre, 
accordingly,  is  the  Actor.  In  him  is  vested  the  in- 
tellectual faculty  to  guide  genial  emotion,  and  it  is 
by  genial  emotion  that  the  human  race  is  led.  His 
vocation,  therefore,  is  of  great  public  importance, 
and  a  solemn  responsibility  rests  upon  him  to  pursue 
it  with  a  deep  conviction  and  clear  sense  of  duty — to 
allow  no  subjects  on  the  stage  that  will  defile  the 
minds  of  his  auditors,  and  to  liberate  and  stimulate 
only  those  feelings  by  which  human  nature  is  en- 
nobled. Thus  McCullough  did,  when  he  acted  Vir- 
ginius;  no  listener  that  ever  heard  his  voice,  in  that 
great  Forum  scene — "Does  no  one  speak?" — can 


forget  the  respondent  thrill  of  emotion  that  was  dis- 
persed through  the  whole  hushed,  breathless  assem- 
blage. Thus  Jefferson  did,  when,  as  poor  old  Caleb 
Plummer,  meeting  the  son  supposed  to  have  been 
drowned  at  sea,  he  uttered  the  hysterical  cry,  "My 
boy!  my  boy!  Don't  tell  me  that  he  is  alive!"  Thus 
Willard  did,  as  Cyrus  Blenkarn,  when,  being  told 
of  his  idolized  daughter's  shame  and  flight,  he  half 
whispered  to  himself,  "O,  my  Mary,  my  Mary! 
Why,  she  was  here — only  a  few  minutes  ago — and  I 
told  her  it  was  better  to  be  dead  than  to  live  so.  I 
didn't  mean  it,  my  dear,  I  didn't  mean  it!"  Thus 
Theodore  Roberts  did  (among  living  actors  a  man 
in  the  front  rank,  for  ability  and  achievement) ,  when 
he  appeared  in  the  strange,  composite,  semi-savage 
character  of  Joe  Portugal*,  and,  in  a  scene  of  won- 
derful pathos,  gave  such  expression  to  horror,  agony 
and  remorse  as  would  be  possible  only  to  a  nature 
rich  in  emotion  and  an  art  precisely  and  perfectly 
balanced  and  controlled.  Such  examples  clarify  the 
meaning  of  what  is  claimed  for  the  Theatre,  and 
point  the  way  upon  which  the  actor's  art  should  move. 
If,  then,  knowledge  of  the  Theatre  of  the  Past  is  essen- 
tial to  those  persons  who  manage  the  Theatre  of  the 
Present,  how  much  more  is  it  essential  to  actors,  upon 
whom  the  very  existence  of  the  Theatre  depends,  and 
to  the  Public,  whose  practical  sympathy  and  interest 
support  them  both!  Acting,  rightly  considered,  is 
one  of  the  learned  professions, — the  Stage  being  no 
less  important  to  society  than  the  Pulpit,  the  Press  or 
the  Bar.  The  more  extensive  and  exact  an  actor's 
acquaintance  with  the  styles  of  acting  which  have 
prevailed,  in  succeeding  periods  and  in  various  coun- 
tries,— styles  that  were  sequent  upon  action  and  re- 
action between  the  Theatre  and  the  People, — the 
larger  and  finer  will  his  equipment  be,  and  the  more 
competent  and  persuasive  his  procedure,  in  address- 
ing, and  in  helping  to  mold,  the  taste  of  the  age  in 
which  he  lives.  That  great  actor  Edwin  Booth, 
speaking  to  the  present  writer,  said:  "I  like  to  read 
about  the  old  dramatists."  He  could  not  have  chosen 
a  line  of  reading  more  illuminative  in  the  study  of 
human  nature  or  more  practically  helpful  in  the  pur- 
suit of  his  vocation. 

Edwin  Booth  was  one  of  the  representative  men, 
in  the  great  intellectual  lineage  of  Betterton,  Gar- 
rick,  Kemble,  Kean,  Macready,  Cooper,  Forrest,  and 
Wallack,  who  have  maintained  our  Theatre,  devel- 


FOREWORD 


oped  the  Art  of  Acting,  and  brought  the  stage  to  the 
eminence   that  it  holds  to-day.     His   active   career 
ended  about  twenty  years  ago  and  he  has  been  dead 
since  1893,  but  his  service  to  the  art  of  acting  was  so 
great,  his  personality  was  so  potential,  and  his  ex- 
ample was  so  impressive  that  his  influence  still  sub- 
sists, and  still  is  equally  an  incentive  to  noble  dra- 
matic   enterprise    and    a    rebuke    to    those    ignoble 
dabblers  in  the  Drama  who,  with  their  vapid  "musi- 
cal  farces,"   tawdry  "leg-shows,"   and  exposures  of 
"Tenderloin"  vulgarity  and  vice,  are  making  it,  in  as 
far  as  they  can,  a  pander  to  the  low  appetite  of  the 
uncouth  mob.     One  result  of  Booth's  influence,  for 
example,  is  the  erection  of  the  magnificent  building, 
in  New  York,  which  has  recently  been  opened,  under 
the  designation  of  The  New  Theatre.     That  influ- 
ence it  was  which  established,  and  has  helped  to  keep 
alive,  in  the  minds  of  thoughtful  persons,  the  deep 
feeling,  the  imperative  conviction,  that  the  Theatre 
should  be  organized  on  a  grand. scale.    That  influence 
it  was  which  prompted  many  writers  to  advocate  such 
a    movement.      That    influence,    especially,    it   was 
which  inflamed  the  ardent  ambition  of  that  brilliant 
genius  and  tremendous  worker,  Richard  Mansfield, 
who  desired  not  only  to  vie  with  Edwin  Booth  but 
to  surpass  him,  and  Mansfield's  eloquent  appeal  to 
the  public  spirit  and  the  wealth  of  this  community, 
for  an  endowed  Theatre,  was  certainly  instrumental 
in  procuring  that  consummation  which  now  seems 
possible.    Thus  it  is  that  a  great  man's  memory  sur- 
vives.    Thus  it  is  that  the  noble  work  achieved  by 
Edwin   Booth   has   contributed  to   provide   for   the 
people  of  the  great  metropolis  of  America  a  veritable 
temple  of  art,  in  which  it  is  promised  that  all  things 
shall  be  beautiful,  and  in  which,  therefore,  nothing 
can  be  base.    When  that  New  Theatre  was  dedicated, 
indeed,  a  distinguished  statesman,  who  addressed  the 
audience,  spoke  of  "the  failure  of  Booth's  Theatre." 
His  environment  might  have  admonished  him  of  his 
error, — for  success  is  not  measured  by  mere  monetary 
gain.    The  authentic  records,  had  he  consulted  them, 
would  certainly  have  done  so,  for  Booth's  Theatre, 
while  it  was  Booth's  Theatre,  was  not,  in  any  sense, 
a  failure.     That  house  was  opened  on  February  3, 
1869.    The  auditorium  was  beautiful  in  its  decora- 
tions, but  it  was  not  so  beautiful  as  to  eclipse  the 
beauty  of  the  stage,  and  that  stage  was  a  marvel  of 
symmetry,  appointment,  and  fitness  for  the  purposes 


of  dramatic  representation.  Its  depth,  from  the  foot- 
lights to  the  rear  wall,  was  fifty-five  feet.  The  arch 
was  seventy-six  feet  wide.  Beneath  the  stage  there 
was  a  pit,  thirty-two  feet  deep,  which  had  been  dug 
in  the  earth  and  blasted  out  of  the  solid  rock,  into 
which  a  whole  scene  could  be  sunk,  so  that  it  was 
possible, — as  in  the  splendid  production  of  "Ham- 
let," which  presently  ensued, — to  save  time  and  to 
heighten  effect  by  rapidity  of  scenic  change.  The 
flats  (for  drops,  practically,  were  then  unknown), 
were  raised  or  lowered  by  pressure  from  hydraulic 
rams.  Every  part  of  the  mechanism  of  a  production 
of  a  play  could  be,  and  was,  constructed  within  the 
theatre.  The  precautions  taken  against  fire  were  so 
complete  and  effectual  that  the  underwriters  insured 
the  theatre  at  rates  of  from  one  and  a  half  to  two  per 
cent  less  than  was  charged  for  insurance  of  any  other 
theatre  in  the  city.  Booth  managed  his  theatre  for 


L 


JOSEPH    JEFFERSON 

AS 
RIP    VAN    WINKLE 


FOREWORD 


four  years,  and  although  it  necessitated  lavish  ex- 
pense,— more  canvas,  for  example,  being  required 
for  the  setting  of  a  single  scene,  on  Booth's  stage,  than 
was  required  for  the  setting  of  a  whole  five-act  com- 
edy on  the  stage  of  Wallack's, — the  net  profit  of  the 


JOHN    McCULLOUGH 

AS 
VIRGINIUS 


first  season  was  $102,000;  of  the  second  season  $85,- 
ooo;  of  the  third  season  $70,000.  A  mortgage  of 
$100,000  was  cleared  away.  The  floating  debt  was 
reduced  from  $66,000  to  $24,000.  Decline  in  profits 
was  due  to  the  inevitable  subsidence  of  lively  popular 
interest  in  a  new  enterprise,  but  it  was  never 
doubtful  that,  had  Booth  continued  to  direct  the 
management  of  his  theatre,  its  annual  profit  would 
have  been,  at  least,  $50,000.  He  retired  from  man- 
agement (in  June,  1873)  because  he  was  weary  of  it, 
jaded  in  mind,  by  temperament  a  recluse,  and  after 
the  panic  of  that  year  he  went  into  bankruptcy,  under 
injudicious  advice  and  against  his  will, — a  step,  it 
should  particularly  be  remembered,  which  was  not 
taken  until  more  than  a  year  after  he  had  ceased  to 
manage  Booth's  Theatre,  and  a  step  which  was  not, 
in  any  way,  consequent  on  his  management  of  that 


Theatre,  and  which  it  was  thought  would  protect 
him  from  extortion.  Notwithstanding  Booth's  lack 
of  business  sagacity,  his  confiding  disposition,  his 
indifference  to  material  gain,  and  his  propensity  to 
drift  and  dream,  he  earned  three  successive  fortunes, 
and,  dying  at  the  age  of  sixty,  left  an  estate  of  more 
than  half  a  million.  His  pecuniary  success  was 
great,  but  his  greater  success  was  that  of  mind  and 
soul.  He  was  a  great  man,  and  his  memory  will  be 
honored  always  in  the  annals  of  our  stage.  Booth's 
Theatre,  after  he  left  it,  passed  through  the  custody 
of  various  speculative  managers,  and  ultimately  it 
was  abandoned:  but  in  his  hands  it  never  was  a  fail- 
ure, and  in  endeavors  that  are  now  current  the  spirit 
of  it  seems  to  live  again  and  to  breathe  a  monition 
to  the  People  to  guard  and  promote  the  sacred  cause 
of  which  he  made  it  the  emblem:  for  it  is  with  the 
People,  in  their  love  and  enjoyment  of  acting  and  in 
their  allegiance  to  the  Actor  and  his  Art,  that  the 
Present  of  the  Theatre  rests,  and  it  is  to  the  People 
that  its  Future  is  committed. 

There  is  an  impression  current,  to  some  extent,  that 
the  advancement  of  the  Theatre  in  America  is  attrib- 
utable to  the  "gigantic  business  enterprise,"  astute 
"management,"  and  dexterous  financial  dealing  of 
persons  who,  having  leased  or  built  many  houses,  ob- 
tained control  of  many  plays,  formed  a  close  corpora- 
tion for  their  personal  benefit  and  aggrandizement, 
-  and  "cornered  the  market,"  largely  dominate  the 
stage;  but  that  is  an  error — for  there  is  very  little  of 
even  enlightened  self-interest  in  the  theatrical  man- 
agement of  this  period.  It  has,  indeed,  been  per- 
ceived that  the  field  of  the  drama  is  a  lucrative  one, 
and  susceptible  of  being  made  richly  responsive  to 
cultivation,  and,  accordingly,  money  has  been  in- 
vested in  it,  and  cultivation  has  been  sedulously 
pursued;  but  without  the  Actor,  and  without  a  pub- 
lic spirit  sympathetic  with  the  Actor,  neither  "busi- 
ness enterprise,"  nor  shrewdness,  nor  sharp  practice, 
nor  capital  could  accomplish  anything,  and  recent 
development  in  our  Theatre,  such  as  it  is,  has  re- 
sulted, not  from  the  forces  that  chiefly  control  its 
administration,  but  in  spite  of  them.  It  is  more  than 
questionable,  indeed,  whether  the  condition  of  the 
Theatre  would  not  be  cleaner  and  better,  its  progress 
swifter,  and  its  influence  more  salutary,  if  it  were 
altogether  relieved  of  that  "gigantic  business  enter- 
prise," rescued  from  the  hands  of  tradesmen,  and 


FOREWORD 


relegated  to   the  control  of  the  Actor,  who  is  the 
natural  and  rightful  custodian  of  it. 

Facilities  for  transacting  business  of  every  kind, 
and  of  theatrical  business  among  the  rest,  have,  of 
late  years,  been  greatly  augmented.  In  all  direc- 
tions the  tendency  is  toward  combination,  central- 
ization, organization,  and  the  speculators  who  have 
almost  entirely  absorbed  the  Theatre  of  America 
have  been  sufficiently  susceptible  to  the  trend  of  the 
times,  and  also  sufficiently  shrewd,  to  make  use  of 
the  facilities  that  combination  and  organization  have 
supplied.  The  business  of  squeezing  the  orange,  ac- 
cordingly, goes  on  with  vigor  and  flourishes  in  rank 
luxuriance, — although  it  is  conducted  with,  for  ex- 
ample, much  the  same  sagacious  and  provident  fore- 
thought which  has  marked  the  devastation  of  the 
forests  of  our  country, — those  speculators  having,  in 
fact,  done  nothing  for  either  the  Theatre  or  the 
Public.  What  beneficial  influence  have  they  used  or 
even  sought  to  use?  What  have  they  done  to  en- 
courage dramatists  of  a  high  order?  What  provision 
have  they  made  for  the  development  of  actors? 
What  actor  has  been  produced  by  them?  Who  are 
the  leading  actors  of  the  day?  Mantell,  Sothern, 
Mason,  Whytal,  Kellerd,  Worthing,  Roberts,  Good- 
win, Forbes-Robertson,  Louis  James,  Crane,  Bellew, 
Dodson,  Cartwright,  Tyrone  Power,  E.  M.  Holland, 
James  O'Neil,  Miss  Marlowe,  Miss  Bates,  Miss 
Allen,  Mrs.  Fiske, — every  one  of  them  was  reared 
in  a  time  when  the  Actor  dominated,  and  before  theat- 
rical "rings,"  monopolies,  or  syndicates  were  regard- 
ed. Mantell,  for  example,  had  acted  many  scores  of 
parts  before  he  entered  into  association  with  the  man- 
agement under  which  he  now  performs:  is  the  excel- 
lence of  his  achievement  due  to  his  development, 
training,  and  experience,  or  is  it  due  to  "a  route  in  the 
Syndicate  houses"?  Miss  Blanche  Bates,  who  was 
recognized  as  an  actress  of  exceptional  talent  and 
auspicious  promise  long  before  she  entered  the  service 
in  which  she  is  now  employed,  has  given  ten  years,— 
and  those  her  best  years, — under  the  conditions  that 
prevail  to-day,  and  with  what  result?  She  has,  in 
all  that  time,  acted  six  parts,  only  one  of  which, 
intrinsically,  was  worth  acting,  and  she  has  seen 
great  opportunity  slip  from  her  grasp.  The  only 
things  that  can  truthfully  be  claimed  for  any  theat- 
rical "ring"  are  cynical  disregard  of  all  interests 
except  its  own,  blatant  expedition  in  "doing  busi- 


ness," and  promptitude  in  gathering  the  "rake-off." 
Nothing  fine  was  ever  accomplished  by  the  effort 
that  is  prompted  by  greed  of  gain.  Great  works  of 
art  proceed  from  love  of  art.  When  acting  is  made 
a  mere  trade,  it  is  degraded,  and,  at  this  time,  poten- 
tial influences  are  more  or  less  effectively  operative 
which,  notwithstanding  the  eminence  of  the  Stage 
as  an  institution,  tend  to  make  it  so.  There  is  great 
luxury;  eager  desire  to  obtain  wealth  and  to  obtain 
it  quickly,  with  little  or  no  regard  to  integrity  of 
conduct;  a  fever  of  unrest;  a  continuous  flurry  of 
haste,  and  therefore  no  repose.  Means  of  rapid  trans- 
portation are  ample,  over  the  expanse  of  a  vast  coun- 
try, and,  since  it  has  been  found  that  the  diffusion  of 
theatrical  exhibition  is  more  immediately  remunera- 
tive than  the  concentration  of  it,  "star"  actors  are 
created,  in  large  numbers  and  out  of  poor  material, 


J 


RICHARD     MANSFIELD 

AS 
KING    RICHARD    III 


FOREWORD 


and  the  inevitable  consequence  is  deterioration  in  the 
quality  of  acting.  Rapid  and  huge  increase  of  popu- 
lation, more  or  less  general  access  of  pecuniary  means, 
and  a  wide  and  still  widening  dissemination  of  intelli- 
gence among  the  people  would,  inevitably,  augment 
and  intensify  demand  for  theatrical  supply,  and  it 


EDWIN    FORREST 

AS 
CORIOLANUS 


could  not  be  expected  that  the  demand  would  be 
ignored;  but  that  posture  of  affairs  serves  only  to 
make  more  conspicuous  the  venality  of  that  selfish, 
reprehensible  commercialism  which,  by  mercenary 
policy  and  manifold  restriction,  prevents,  at  the 
source,  the  development  of  trained  actors  and  the  en- 
largement of  the  numbers  of  them,  at  the  very  time 
when  such  enlargement  is  most  needed.  The  intel- 
lectual obligation  to  the  dramatic  art  and  to  the  com- 


munity remains  unchanged,  and  in  the  minds  of 
some, — perhaps  of  many, — actors  it  is  ever  present, 
and  they  would  like  to  fulfil  it;  but  in  many  cases 
their  training  has  been  inadequate,  and  in  other  cases 
their  experience  of  their  surroundings  has  disheart- 
ened, disabled,  or  corrupted  them.  There  is,  for  ex- 
ample, no  successor  to  Edwin  Booth.  Such  a  style  as 
that  of  John  Gilbert,  or  William  Warren,  or  John 
Parselle,  or  Joseph  Jefferson  (all  representatives  of 
authentic  character,  as  true  and  as  frequent  to-day  as 
ever),  cannot  now  anywhere  be  seen.  The  rugged, 
towering  personality  and  the  colossal  power  of  For- 
rest, "foursquare  to  opposition,"  has  become  a  fading 
memory.  The  romantic,  captivating  manliness  of 
Edward  L.  Davenport,  in  "St.  Marc,"  and  the  splen- 
did ardor  of  Lawrence  Barrett,  in  "The  King  of  the 
Commons,"  are  forgotten:  at  all  events,  nothing  of 
the  kind  is  even  suggested,  except  in  the  acting  of 
Robert  Mantell,  and  in  that  of  two  or  three  other  sur- 
vivors of  the  old  mode.  Our  time,  undeniably,  is  one 
of  marvels:  especially  is  it  marvellous  in  science  and 
mechanism:  but,  unhappily,  the  spirit  of  it  is,  to  a 
considerable  extent,  unromantic  and  cynical,  and 
our  Theatre  partakes  of  the  spirit  of  our  time. 

But,  notwithstanding  materialism,  commercialism, 
and  cynicism,  human  nature  remains  susceptible  to 
noble  and  gentle  influence,  the  human  heart  is  re- 
sponsive to  genius  and  beauty,  and  the  fire  of  enthu- 
siasm is  not  wholly  extinct,  either  before  the  curtain 
or  behind  it.  While  there  is  much  to  be  deplored  in 
the  state  of  society  and  in  the  state  of  our  Theatre, 
there  is  also  much  to  be  enjoyed  and  admired.  Prog- 
ress moves  in  cycles,  and  portents  now  visible  signify 
that  the  old  mode  is  coming  round  again.  Observers, 
indeed,  exist,  and  are  often  audible,  who  scorn  it,  who 
think  Shakespeare  is  archaic;  that  the  true  road  to 
artistic  fruition  and  social  improvement  leads 
through  the  brothel,  the  clinic,  the  cesspool  and  the 
charnel-house;  that  the  province  of  the  Theatre  is 
the  vivisection  of  disease  and  iniquity;  that  photog- 
raphy is  acting;  and  that  tragedians  of  the  Forrest, 
or  Brooke,  or  Booth,  or  McCullough,  or  Barrett,  or 
Vandenhoff  school  are  merely  declamatory  and  elo- 
cutionary. Time  will  answer  them,  as  the  veteran 
Gibber  answered  the  young,  colloquial  Garrick, 
when  that  victorious  actor  exuberantly  exclaimed: 
"The  old  style  wouldn't  do  now."  "How  do  you 
know?"  said  Gibber;  "you  never  tried  it."  In  its  re- 


FOREWORD 


currence  the  old  mode  will  have  dispensed  with  a 
certain  formalism  which  was  obvious  in  some  ex- 
ponents of  it, — even  in  Mathews  and  Lester  Wai- 
lack:  if  the  old  actors  themselves,  such  as  Davenport, 
Brooke,  Placide,  Marshall,  Burton,  Sefton,  Blake, 
Walcot,  Adams,  and  Owens,  were  living  now,  there 


MRS.    GILBERT 

IN 
'DOLLARS    AND   SENSE' 


is  no  reason  to  doubt  that  they  would,  almost  involun- 
tarily, adapt  their  styles  to  the  contemporary  pref- 
erence for  complete  flexibility  of  expression:  but  the 
old  mode  will  retain  its  old  beauties, — exactitude  of 
sincere  impersonation;  atmosphere  of  poetry;  pre- 
cision and  clarity  of  speech;  simplicity  of  action; 
grace  of  trained  movement;  authority;  distinction; 
and  an  absolute,  beguiling  sympathy  with  romance. 
Jefferson  was  a  typical  embodiment  of  that  style,  and, 


to  the  end  of  his  career,  which  terminated  only  about 
five  years  ago,  he  enthralled  the  public  regard,  and 
everywhere  found  the  keenest  and  amplest  apprecia- 
tion. Ada  Rehan,  who,  in  her  girlhood,  had  profited 
by  professional  association  with  that  accomplished 
actress,  Mrs.  John  Drew,  and  by  the  example  of 
many  veterans  with  whom  it  was  her  fortune  to  act, 
had  acquired  that  style,  and  to  the  day  of  her  with- 
drawal from  the  stage,  was  so  brilliant  a  type  of  it 
that  she  eclipsed  competition  in  the  most  difficult 
comedy  character  ever  written, — Shakespeare's 
Rosalind.  Robert  Mantell  possesses  that  style,  and 
only  lately,  in  his  great  impersonation  of  Shake- 
speare's King  John,  he  exemplified  it  by  such  acting 
as  the  types  of  "intensity,"  "reserved  force,"  and  "re- 
pression" could  never  approach, — the  production 
failing  to  win  popular  support  only  because  the  same 
excellence  was  wanting  in  his  associates,  who,  indeed, 
provided  a  spectacle  of  general  incompetence,  pain- 
ful to  behold  and  melancholy  to  remember.  Otis 
Skinner,  in  tragedy,  has  preserved,  and,  if  he  pleased, 
could  illustrate,  the  tradition  of  it.  John  Mason, 
Frank  Worthing,  N.  C.  Goodwin,  John  E.  Kellerd, 
Tyrone  Power,  Sidney  Herbert,  John  Gilmour,  Wil- 
fred Clarke,  John  Drew,  Russ  Whytal,  and  George 
Arliss,  in  comedy,  have  shown  the  dominant  influ- 
ence of  it  upon  their  minds  and  methods,  and  have 
clearly,  though  variously,  demonstrated  their  capa- 
bility to  use  it  or  to  acquire  it.  When,  for  example, 
was  a  more  exquisite  embodiment  seen,  during  the 
present  period, — more  refined  in  spirit,  more  pro- 
found in  feeling,  more  delicate  yet  keenly  forcible  in 
expression, — than  Mr.  Whytal's  personation  of  Judge 
Prentice,  in  one  of  the  most  modern  of  plays,  Augus- 
tus Thomas's  superb  play  of  "The  Witching  Hour"? 
The  acceptance  accorded  to  William  Faversham's 
presentment  of  King  Herod,  even  though  only  a  hint 
of  the  old  tragic  fashion  appeared  in  it,  signifies  the 
trend  of  the  public  mind  toward  substantial  themes 
and  artistic  endeavor.  Miss  Viola  Allen,  in  point 
of  authority,  purity  of  style,  and  facility  and  finish 
of  execution,  is  an  actress  whose  presence  would  have 
graced  Burton's  or  Wallack's  stage,  in  the  best  period 
of  those  remarkable  institutions, — and,  perhaps,  that 
was  a  period  as  golden  as  any  in  our  theatrical  his- 
tory. Miss  Blanche  Bates  has  shown  the  power,  the 
fire,  the  impetuosity,  and  the  charm  that  veterans  still 
remember  in  Charlotte  Crampton,  Mrs.  Bowers, 


FOREWORD 


Jean  Davenport,  and  Matilda  Heron.  Miss  Julia 
Marlowe  can  make  actual,  and  has  often  done  so, 
the  most  delicate  ideal  of  romantic  womanhood.  It 
is  good  to  believe,  and  there  is  comfort  in  knowing 
that  we  can  believe,  that  the  spirit  of  romance  has  not 
been  altogether  blighted,  notwithstanding  the  sordid 


CLARA     MORRIS 

IN 
"THE    SPHINX" 


efforts  of  tradesmen  to  turn  the  Theatre  into  a  shop, 
and  notwithstanding  the  injudicious,  not  to  say  per- 
nicious, tattle  of  the  press,  making  common  and  prosy 
the  whole  mechanism  of  the  stage,  and  dissipating 
that  glamour  of  poetic  mystery  which  ought  always 
to  be  left  undisturbed  around  the  actor's  profession. 
Actors  are  more  numerous  in  the  present  period, 
in  America,  than  ever  before  in  the  history  of  our 
stage,  and,  as  a  class,  they  possess  much  and  diversi- 
fied talent.  The  scope  and  efficacy  of  their  ministra- 
tion, however,  are  restricted  by  reason  of  their  gen- 
eral subservience  to  an  unsympathetic,  inauspicious 
control.  Their  affairs,  which  ought  to  be  exclusively 


in  their  own  hands,  are,  to  a  great  extent,  in  the  hands 
of  "middlemen";  persons  who  contribute  nothing,  do 
nothing,  and  are  nothing;  persons  who,  as  remarked 
by  Richard  Mansfield,  sit  in  arm-chairs,  smoke 
cigars,  and  grow  fat  by  "booking  dates."  Expedi- 
tious methods  of  "doing  business"  are  pleasing  to 
consider  and  are  highly  commendable,  but  they  are 
not  unusual,  certainly  they  are  not  startling,  and  it 
has  not  yet  been  ascertained  that  expert  book-keep- 
ing, private  wires  and  convenient  "  'phones"  involve 
either  natural  fitness  or  acquired  qualification  to 
direct  intellectual  forces  of  vital  import  to  the  public 
welfare.  In  fact,  it  has  been  surmised  that  theatrical 
management  would  be  the  better  for  less  tape  and 
more  talent.  Indications,  indeed,  are  not  lacking, 
that  this  undesirable  state  of  theatrical  affairs  is  be- 
coming appreciated  as  disastrous  to  the  Theatre,  and 
that  actors  are  beginning  t.o  understand  that  they,— 
and  not  the  middlemen, — are  the  producers;  that  the 
charm  of  the  stage  resides  in  their  faculties,  that  the 
value  of  the  Theatre  is  commensurate  only  with  their 
attractive  ability,  and  that  the  profits  which  accrue 
from  dramatic  representation  belong  to  them,  and 
not  to  janitors  and  ticket-sellers.  Here  and  there  al- 
ready an  actor  is  visible  who  insists  on  managing  his 
own  business.  Too  often,  though,  the  practice  still 
prevails  of  running  with  the  stream,  and  many  an 
actor  is  satisfied, — if  he  can  obtain  a  good  salary, — 
to  abdicate  his  individuality,  to  take  orders  from  a 
blustering,  insolent  huckster,  to  play  one  part  for  a 
whole  season,  or  for  many  successive  seasons,  and  to 
cast  to  the  winds  all  care  about  the  improvement  of 
his  faculties,  the  advancement  of  his  profession,  or 
the  fulfilment  of  his  duty  to  the  public  as  an  intel- 
lectual man  exercising  an  intellectual  art.  Indeed 
the  obnoxious  phrase  "art  for  art's  sake"  frequently 
falls  with  a  sneer  from  lips  to  which  such  idle,  paltry 
words  should  always  be  strange.  Nobody  wants  "art 
for  art's  sake."  Art  is  wanted  for  the  actor's  sake, 
and  still  more  for  the  sake  of  his  audience, — for  if 
art,  whether  dramatic  or  other,  does  not  help  man- 
kind, it  is  worse  than  useless.  Nobody,  meanwhile, 
objects  to  the  honest,  legitimate  quest  of  substantial, 
practical  profit.  "The  laborer  is  worthy  of  his  hire." 
The  actor  should  be  paid  for  his  acting,  and  he  should 
be  well  paid.  No  worker  better  deserves  his  reward 
than  the  worker  whose  toil  is  directed  toward  im- 
proving the  mind,  refining  the  manners,  elevating  the 


FOREWORD 


spirit,  and  thus  augmenting  the  happiness  of  man-         endured.     How  well  it  is  entitled  to  take,  and  to 


kind.  This  view  of  the  subject  impresses  tradesmen, 
the  "keepers  of  theatrical  shops,"  as  "visionary,"  "im- 
practical," "theoretical,"  "behind  the  times" ;  but  this 
is  the  view  that  the  dramatic  profession  ought  to  take 
of  itself;  this  is  the  only  view  that  will  justify  the 


MADAME    MODJESKA 

AS 
LADY    MACBETH 


claim  made  for  it  to  honor  and  support;  and  this 
is  the  view  that,  eventually,  it  will  take  of  itself,  to 
the  expulsion  of  many  money-changers  from  the 
temple,  and  to  the  correction  of  many  abuses 
which  the  Theatre  and  the  Public  have  too  long 


insist  upon,  this  view  of  itself,  a  thoughtful  in- 
spection of  the  lives,  the  talents,  and  the  achieve- 
ments of  the  men  and  women  who  have  been, 
and  who  are,  devoted  to  its  service,  will  make  mani- 
fest to  every  thoughtful  reader.  Intellect,  char- 


MARY    ANDERSON 

AS 
THE    COUNTESS 


acter,  ambition,  toil,  endurance,  beauty,  manifold 
accomplishments — those  are  the  lilies  and  roses  in 
the  garland  of  dramatic  biography  here  woven, 
which  also  lacks  not  the  modest  violet  of  humble 
service  and  the  lowly  myrtle  of  duty  well  done. 


t*- 


#»- 


N  DREW'S 
career  divides  itself 
conveniently  into  two 
periods  :  the  first  of 
seventeen  years,  un- 
der  the  management 


Mr  JOHN  DR£W 


of  Augustin  Daly  for  the  greater 
part  of  the  time,  sharing  leading 
honors  in  that  inimitable  Daly  The- 
atre quartette  —  Ada  Rehan,  Mrs. 
Gilbert,  James  Lewis,  and  himself, 
—  and  the  second  period  of  the  past 
seventeen  years  since  1892  as  a 
star  under  the  management  of 
Charles  Frohman. 

He  was  born  in  Philadelphia,  in 
November,  1853.  His  father,  John 
Drew,  was  a  celebrated  comedian 
and  actor  of  Irish  characters,  and 
his  mother  was  one  of  the  famous 
artists  of  her  period.  He  went  on 
the  stage  at  twenty  and  played  his 
first  parts  at  the  Arch  Street  The- 
atre, Philadelphia,  while  it  was 
under  the  management  of  his  moth- 
er. It  was  there  that  Augustin 
Daly  saw  him  and  engaged  him  for 
his  New  York  company. 

Mr.  Drew  made  his  first  appear- 
ance in  New  York  at  Daly's  Fifth 
Avenue  Theatre,  February  17,  1875, 
as  Bob  Ruggles  in  "The  Big  Bo- 
nanza." Under  this  management 
he  played  over  seventy  parts, 
several  of  them  acted  in  support 
of  Edwin  Booth,  Fanny  Daven- 
port and  Frederick  Warde,  to 
whom  Mr.  Dalv  loaned  his  services. 


•JACK  STRAW 


When  the  present  Daly's  Theatre 
was  opened  in  1880  Mr.  Drew  be- 
came leading  man  there  and  ap- 
peared at  the  head  of  the  company 
on  its  visits  to  London  and  Paris. 

Under  Mr.  Frohman's  manage- 
ment he  has  on  an  average  ap- 
peared in  one  new  play  a  year  since 
his  debut  as  a  star  at  Palmer's 
Theatre,  October  3,  1892,  as  Paul 
Blondet  in  "The  Masked  Ball," 
with  Maude  Adams  as  his  leading 
woman.  The  characters  and  plays 
in  the  order  of  their  production 
have  been  Frederick  Ossia  in  "The 
Butterflies,"  Lord  Clivebrook  in 
"The  Bauble  Shop."  John  Annesley 
in  "That  Imprudent  Young  Cou- 
ple," Christopher  Colt,  Jr..  in 
"Christopher,  Jr.."  Mr.  Kilroy  in 
"The  Squire  of  Dames,"  Sir  Jasper 
Thorndyke  in  "Rosemary,"  Comte 
de  Condale  in  "A  Marriage  of 
Convenience,"  Dick  Rudyard  in 
"One  Summer's  Day,"  Sir  Christo- 
pher Bering  in  "The  Liars,"  Mr. 
Parbury  in  "The  Tyranny  of 
Tears,"'  "Richard  Carvel,"  Christo- 
pher Bingham  in  "The  Second  in 
Command,"  Lord  Lumley  in  "The 
Mummy  and  the  Humming  Bird," 
"Captain  Dieppe,"  "The  Duke  of 
Killicrankie,"  James  DeLancey  in 
"DeLancey,"  Hilary  Jesson  in  "His 
House  in  Order,"  Gerald  Evers- 
leigh  in  "My  \Yife,"  "Jack  Straw," 
and  George  Hullm  in  '  Inconstant 
George." 


•RICHARD  CARVEL" 


Mr  JOHN   DREW 


Copyright  1901  by  Burr  Mclnlosh 

MADAME  TRENTOM 
IN    "CAPTAIN  JINKS 


\T  adopting  the  stage 
Ethel  Barrymore  must 
have   felt  the   call   of 
the  blood.    Her  father 
was    Maurice    Barry- 
more,  actor  and  dram- 
atist.    Her  mother  was  Georgiana 
Drew-Barrymore,  daughter  of  the 
celebrated  Mrs.  John  Drew.     Her 
two  uncles,  John  and  Sidney  Drew  ; 
her  cousin,  Louise  Drew;  and  her 
two     brothers,    Lionel     and     John 
Barrymore,    are    all    on    the    stage 
to-day.     Miss  Barrymore  was  born 
in  Philadelphia  in  1878.     She  made 
her  debut  under  Charles  Frohman's 
direction  at  the  Empire  Theatre,  in 
the  autumn  of    1894,  and  she  has 
been   under   his   management   con- 
tinually since  except  during  a  year 
spent    in    England    in    Sir    Henry 
Irving's  company. 

Her  first  role  was  Kate  Fennell 
in  "The  Bauble  Shop"  in  her  Uncle 
John  Drew's  support.  With  him 
she  next  played  Katherine  in  "That 
Imprudent  Young  Couple,''  Zoe  in 
"The  Squire  of  Dames,"  and  Pris- 
cilla  in  "Rosemary."  Her  English 
debut  was  made  in  support  of 
William  Gillette  as  Miss  Kittridge 
in  "Secret  Service,"  May  15,  1897, 
at  the  Adelphi  Theatre,  London. 
At  the  termination  of  that  play's 
run  she  joined  Sir  Henry  Irving  on 
tour  and  on  his  return  to  London, 
on  New  Year's  Day,  1898,  she 
created  Euphrosine  in  "Peter  the 
Great"  at  the  Lyceum.  At  the 
close  of  that  season  she  returned 
home  and  Mr.  Frohman  cast  her 
in  "Catherine"  in  support  of  Annie 
Russell  and  as  Stella  de  Grex  in 
"His  Excellency  the  Governor"  be- 
fore giving  her  a  stellar  position. 


Her  first  character  as  a  star  was 
Madame  Trentoni,  the  American 
prima  donna  returning  to  her  na- 
tive shores,  in  Clyde  Fitch's  com- 
edy of  the  early  70*5,  "Captain 
Jinks  of  the  Horse  Marines,"  acted 
first  at  the  Garrick  Theatre,  New 
York,  on  February  4,  1901,  and  the 
breadth  and  depth  of  her  later 
creations  has  not  obscured  the 
memory  of  this  altogether  charm- 
ing performance.  Her  season's 
routine  has  since  been  devoted  to 
light  comedies  nearly  always  of 
English  origin  or  English  life.  The 
list  includes  her  admirably  con- 
ceived boy  in  "Carrots" ;  the  name 
part  in  "Sunday" ;  "Cousin  Kate" ; 
Angela  Muir  in  "A  Country 
Mouse" ;  Gwendolyn  Cobb  in  "The 
Painful  Predicament  of  Sherlock 
Holmes" ;  Nora  in  a  few  perform- 
ances of  "A  Doll's  House"  at  the 
Lyceum  Theatre,  New  York ;  Mrs. 
Grey  in  Barrie's  "Alice-Sit-By-the- 
Fire,"  which  moved  an  unpro- 
fessional critic  to  remark  that  he 
preferred  her  performance  to  the 
play,  "not  that  I  like  Barrie  less 
but  Ethel  Barrymore" ;  Mrs.  Jones 
in  "The  Silver  Box"  at  the  Empire 
for  a  few  nights  in  the  spring  of 
1907;  and  the  leading  roles  in 
"Her  Sister,"  "Miss  Civilization," 
and  Maugham's  "Lady  Frederick." 
A  second  English  experiment  was 
made  in  the  spring  of  1904,  when 
she  played  the  title-role  in  Hubert 
Henry  Davies's  "Cynthia, "  at  Wynd- 
ham's  Theatre.  She  was  admired, 
but  the  performances  were  not 
many.  Miss  Barrymore's  latest  role 
is  in  Sir  Arthur  Wing  Pinero's 
"Mid-Channel."  Early  in  1909  she 
became  the  wife  of  Russell  G.  Colt. 


BARRYMORE 


E    v_y  ^  H 

5OTHE  R,N 


HEINRICH  FRANCOIS  VILLON 

IN  ™ 

"THE  SUNKEN  BELL"    "  IF  I  WERE  KING  " 


'  LORD  DUNDREARY  ' 


SOTHERN  is  the 
son  of  E.  A.  "Dun- 
dreary"  Sothern,  and 
was  born  December 
6,  1859,  in  New  Or- 
eans. He  was  taken 
to  England  when  five  years  old, 
and  received  his  schooling  in  Dun- 
church,  Warwickshire,  and  in  Lon- 
don. It  was  designed  that  he 
should  become  a  painter.  But  he 
had  other  ideas,  and  he  has  pursued 
them  with  an  energy,  ambition,  and 
zeal  that  has  resulted  in  raising  him 
to  a  high  place  among  contempo- 
rary actors.  His  dramatic  career 
readily  divides  itself  into  the  period 
of  early  struggle,  the  years  at  the 
old  Lyceum  in  Fourth  Avenue,  and 
his  independent  efforts  in  the  realm 
of  tragic  and  poetic  drama. 

To  the  first  period  belongs  his  first 
appearance  on  the  stage  as  the  Cab- 
man, with  his  father,  in  "Brother 
Sam"  at  the  Park  Theatre,  New 
York  City ;  brief  experiences  at  the 
Boston  Museum,  in  John  McCul- 
lough's  Company,  two  years  of 
miscellaneous  service  in  minor  parts 
in  London  productions,  parts  in  the 
American  tours  of  "Called  Back," 


"Lost,"  "Three  Wives  to  One  Hus- 
band," "The  Fatal  Letter,"  and  as 
leading  man  with  Helen  Barry, 
Estelle  Clayton  and  Helen  Dauvray. 

He  went  to  the  Lyceum  as 
leading  man  in  1885  an(l  left  in 
1898,  during  which  time  he  ad- 
vanced himself  to  the  rank  of  a 
star.  At  the  Lyceum  he  acted  in 
"One  of  Our  Girls,"  "A  Scrap  of 
Paper,"  "Met  by  Chance,"  "Masks 
and  Faces,"  "Walda  Lamar,"  "The 
Love  Chase,"  "The  Highest  Bid- 
der," in  which  he  made  his  stellar 
debut;  "The  Great  Pink  Pearl," 
"Editha's  Burglar,"  "Lord  Chum- 
ley,"  "The  Maister  of  Woodbar- 
row,"  "The  Dancing  Girl,"  "Lettar- 
blair,"  "The  Disreputable  Mr. 
Reagan,"  "Sheridan,"  "The  Vic- 
toria Cross,"  "A  Way  to  Win  a 
Woman,"  "The  Prisoner  of  Zenda," 
"An  Enemy  to  the  King,"  "  'Change 
Alley,"  "The  Lady  of  Lyons,"  "The 
Adventure  of  Lady  Ursula,"  "A 
Colonial  Girl,"  and  "An  Unwar- 
ranted Intrusion." 

Subsequently  he  played  D'Arta- 
gnan,  "The  Song  of  the  Sword," 
Heinrich  in  "The  Sunken  Bell,"  and 
"Drifted  Apart."  At  the  Garden 
Theatre,  September  17,  1900,  he 
acted  Hamlet  for  the  first  time,  and 
this  performance  marked  the  change 
in  his  efforts  toward  a  higher 
plane.  He  followed  it  with  imper- 
sonations of  Richard  Lovelace, 
Frangois  Villon,  King  Robert  of 
Sicily,  and  Markheim.  Charles 
Frohman  brought  Mr.  Sothern  and 
Miss  Julia  Marlowe  together  in 
1904  for  a  joint  starring  tour,  and 
during  their  intermittent  associa- 
tion since  they  have  acted  in 
"Romeo  and  Juliet,"  "Much  Ado 
About  Nothing,"  "Hamlet,"  "The 
Taming  of  the  Shrew,"  "The  Mer- 
chant of  Venice,"  "Twelfth  Night," 
"Jeanne  d' Arc," "The  Sunken  Bell," 
and  "John  the  Baptist."  Mr.  Soth- 
ern starred  alone  for  two  seasons, 
during  1907  and  1908,  playing  in 
Laurence  Irving's  "The  Fool  Hath 
Said,"  an  uncommonly  delightful 
revival  of  his  father's  role  in  "Lord 
Dundreary,"  and  the  best  composed 
performance  of  his  career  as  Don 
Quixote  in  Paul  Kester's  drama- 
tization of  Cervantes's  masterpiece. 
In  the  performance  of  "Antony  and 
Cleopatra,"  with  which  The  New 
Theatre  was  dedicated,  Mr.  Soth- 
ern acted  Antony.  He  has  written 
much  verse  and  four  plays :  "I  Love, 
Thou  Lovest,  He  Loves,"  "The 
Luncheon  at  Nick's,"  "Never  Trou- 
ble Trouble  Till  Trouble  Troubles 
You,"  and  "The  Light  That  Lies  in 
Woman's  Eyes." 


SIR  GEORGE  SYLVESTER 

IN 

"THE  ADVENTURE  OF 
LADY  URSULA" 


ROPION 

IN 
•'  THE  FOOL  HATH  SAID  " 


Mr.E'H'SOTHEI^N 


D'ARTAGNAN 


M   SS  MA 


DOLLY 

IN 
-YOD  NEVER  CAN  TELL'1 


BEL  T  A  L  I  A- 
'  FERRO  is  a  remark- 
able young  artist  from 
whatever  point  one 
views  her  career.  She 
s  been  playing  con- 
spicuous and  in  many  cases  leading 
parts  in  plays  since  she  was  two 
and  a  half  years  of  age  and  enjoys 
the  distinction  of  being  the  young- 
est star  in  America.  She  might 
retire  now  and  her  career  of  ac- 
tivity and  accomplishment  would 
be  notable  for  one  twice  her  years. 
To  all  her  characters  she  has 
brought  girlish  charm,  rare  poetic 
sense,  a  frail,  delicate  beauty  and 
a  genuine  aptitude  for  the  stage. 

Miss  Taliaferro  was  born  in 
New  York  City,  May  21,  1887,  and 
began  to  act  Baby  Bascome  in 
"Blue  Jeans"  two  and  a  half  years 
afterwards.  At  five  years  she  was 
one  of  the  principals  in  "Patent 
Applied  For,"  and  before  she  was 
seven  she  acted  in  the  companies 
of  Andrew  Mack  and  Chauncey 
Olcott.  The  part  that  brought  at- 
tention to  -her  as  more  than  a  mere 
precocious  child  actress  was  her 
exquisite  Esther  in  "Children  of 
the  Ghetto"  in  1889.  This  role 
took  her  abroad,  where  she  created 
the  adorable  Fairie  Child  in  Yates' 
"The  Land  of  Heart's  Desire," 
which  she  played  under  the  au- 
thor's direction  before  the  leading 
literary  organizations  of  Ireland. 

Her  performances  have  been  so 
genuine  and  so  mature  in  their 
art  that  it  is  some  time  since  Miss 
Taliaferro  has  been  thought  of  as 
a  child  actress,  yet  she  created 
Lovey  Mary  in  "Mrs.  Wiggs  of 
the  Cabbage  Patch"  before  she 
was  sixteen.  Then  followed  Dolly 
Clandon  in  "You  Never  Can  Tell," 
her  long  tour  as  Nance  Olden  in 
"In  the  Bishop's  Carriage,"  a  trip 
to  Australia  in  support  of  William 
Collier,  and,  on  her  return,  her  fine 
performance  of  Pippa  in  Brown- 
ing's "Pippa  Passes"  at  the  Ma- 
jestic Theatre. 

Stellar  honors  came  to  her  in 
1907  when  she  created  the  title  role 
in  "Polly  of  the  Circus,"  which  she 
followed  in  1909  with  Madelaine 
in  Booth  Tarkington  and  Harry  L. 
Wilson's  "Springtime."  She  is 
studying  Parthenia  in  "Ingomar" 
and  "King  Rene's  Daughter"  for 
her  repertoire,  which  is  perhaps 
indicative  of  the  direction  and 
scope  which  she  wishes  to  give 
to  her  career. 


TALIAFERRO 

Ml 

I 


NANCE  OLDEN 

IN 
"IS  THE  BISHOP'S  CARRIAGE" 


MADELAINE 

IN 
"SPRINGTIME" 


MISS     MABEL     TALIA 


IN   "THE  THIEF" 


H 


=*AROLD    KYRLE 
BELLEW    has    had 
,  quite    the    most    no- 
madic and  varied  ca- 
reer    of    any    of    our 
He 


actors. 

was  born  at  Prescot,  Lancashire, 
England,  March  28,  1857.  His 
father  was  a  clergyman  and  public 
reader.  He  first  entered  the  En- 
glish merchant  marine,  but  soon 
went  to  Australia,  where  he  was  a 
lecturer,  a  gold  digger,  a  writer, 
and  finally  an  actor.  His  first  part 
was  Eglinton  in  "Turn  Him  Out," 
and  he  made  his  debut  at  Solferino, 
in  Australia,  in  1874. 

The  next  year  he  returned  to 
England  and  acted  there  continu- 
ously in  the  principal  theatres  and 
companies,  including  Irving's,  for 
ten  years.  He  came  to  America  in 
1882,  but  returned  without  playing. 
It  was  three  years  later  that  he 
made  his  American  debut,  playing 
Hubert  in  "In  His  Power"  at  Wai- 
lack's.  He  remained  two  seasons 
and  returned  to  England  in  1888 
and  formed  a  partnership  with 
Cora  Urquhart  Potter.  They  were 
joint  stars  almost  uninterruptedly 
for  ten  years.  Together  they  played 
in  America,  Australia,  India,  and 
nearly  every  city  in  the  world 
where  there  were  audiences  who 
understood  English.  During  this 


MrKYRLE 

BELLEW 


y 


time  Mr.  Bellew  made  thirty  pro- 
ductions and  acted  one  of  the 
principal  roles  in  each.  His  notable 
performances  were  Romeo,  Or- 
lando, Lucien  in  "Franc.illon," 
Marat  in  "Charlotte  Corday,"  and 
Leandcr  in  his  own  version  of 
"Hero  and  Leander." 

After  appearing  in  London  as 
Cosmo  in  "The  Jest,"  as  Olivier  in 
"Robespierre"  with  Irving  and 
Terry,  and  as  Rafael  in  "The 
Ghetto,"  Mr.  Bellew  abandoned  the 
stage  temporarily  in  1899  and  re- 
turned to  Australia  and  accumu- 
lated a  considerable  fortune  in  gold- 
mining.  He  revisited  America  in 
1901  and  has  since  been  applauded 
as  one  of  the  really  gifted  artists 
of  the  stage,  giving  superior  inter- 
pretations of  every  type  of  char- 
acter in  poetic  and  realistic  drama. 

Since  his  return  to  the  stage  his 
characters  have  been  Gaston  de 
Marsac  in  "A  Gentleman  of 
France" ;  Romeo,  Chevalier  de 
Vaudray,  and  Young  Marlow  in 
"all-star"  revivals  of  "Romeo  and 
Juliet,"  "The  Two  Orphans,"  and 
"She  Stoops  to  Conquer";  "Raf- 
fles" ;  Jacques  Bernez  in  "The  Sac- 
rament of  Judas"  ;  Brigadier  Gerard 
in  Conan  Doyle's  play  of  that  name ; 
Richard  Voysin  in  "The  Thief; 
and  Edward  Thursfield  in  "The 
Builder  of  Bridges." 


11 


Mr       KYIVLE       DRLLEW 


MISS     ADELINE 

GENEE 


a  time  when  it  was 
supposed  that  the  line 
of  great  ballet  dan- 
cers was  broken  there 
suddenly  appeared  on 
"the  New  York  stage 
a  young  Dane,  Adeline  Genee  "of 
the  twinkling  feet,"  who  has  proved 
herself  a  veritable  artist  and  a  sis- 
ter of  Taglioni,  Ellsler,  and  Grisi. 
Her  effort  has  not  been  to  give  new 
form  and  meaning  to  the  dance,  as 
have  several  contemporaries,  so 
much  as  to  demonstrate  the  beauty 
and  charm  of  traditional  forms 
when  given  their  perfect  expres- 
sion. 

Miss  Genee  was  born  in  Aartrus, 
Ytland,  Denmark.  She  was  taught 
to  dance  by  her  aunt,  Mile.  Zim- 
merman, herself  a  dancer,  and  her 
uncle,  Alexander  Genee,  who  was 
the  original  producer  of  Delibes' 
"Copelia."  She  began  to  prepare 
for  her  career  when  five  years  of 
age  and  made  her  debut  when  in 
her  seventeenth  year  at  the  princi- 
pal theatre  of  Copenhagen.  En- 
gagements at  the  Berlin  Grand 
Opera  and  in  Munich  followed,  and 
in  1897  she  reached  the  Empire 
Music  Hall,  London.  She  was  a 
success,  then  a  vogue  and  devel- 
oped into  an  institution.  For  ten 
years  she  danced  on  no  other  stage, 
except  during  the  run  of  "The 
Little  Michus''  at  Daly's,  where 
special  dances  were  interpolated  for 
her.  She  has  appeared  "by  com- 
mand" before  numerous  royalties 
in  London  and  in  Copenhagen. 

In  1907,  she  came  to  America 
and  made  her  debut  at  the  New 
York  Theatre  in  a  musical  comedy, 
"The  Soul  Kiss,"  written  especially 
to  introduce  her  dances,  and  was 
proclaimed  "a  Tetrazzini  of  the 
toes."  In  the  fall  of  1909  she  pre- 
sented new  dances  in  "The  Silver 
Star,''  and  in  addition  she  has  in 
this  production,  for  the  first  time  in 
her  life,  a  speaking  part. 


EDEO 


NED  TRENT  IN  "THE  CALL  OF  THE  NORTH" 


R 


ROBERT     EDESON 
'  went  on  the  stage  as 
,  the  result  of  a  wager. 
He  was  not,  however, 
^an  entire  stranger  to 
he    theatre 


by    any 

means,  for  his  father,  George  R. 
Edeson,  was  a  well-known  comedian 
and  stage  manager,  and  his  first 
money  was  earned  as  an  assistant 
in  the  box  office  of  Colonel  Sinn's 
Park  Theatre  in  Brooklyn.  While 
he  was  there,  Cora  Tanner  was  to 
produce  "Fascination"  at  the  Park 
Theatre,  but  one  of  her  company, 
cast  to  play  a  minor  part,  be- 
came ill  and  young  Edeson  volun- 
teered to  act  the  part.  Colonel 
Sinn  offered  to  bet  him  one  hun- 
dred dollars  he  could  not.  But  he 
did,  and  he  was  paid  this  sum  for 
his  debut.  This  happened  in  1887, 
when  he  was  nineteen  years  old. 

Thereafter  he  played  many  parts 
under  nlany  managers,  sometimes 
in  New  York  City,  sometimes  on 
tour,  but  always  conscientiously  and 
with  a  nice  adaptability  to  direct, 
manly  characters,  and  from  year  to 
year  his  popularity  advanced  stead- 
ily. From  "Fascination"  he  went 
into  a  minor  company  which  Au- 
gustin  Daly  was  sending  on  tour 
in  "A  Night  Off,"  and  thence  for 
a  year  into  "A  Dark  Secret."  After 
a  variety  of  other  engagements, 
which  gave  him  little  besides  ex- 
perience, he  became  a  member  of 
Charles  Hoyt's  Madison  Square 
Theatre  Company,  and  played  with 
them  in  "That  Cowboy,"  "The 


Charms  of  Music,"  "A  Modest 
Model,"  and  "A  Mere  Pretense." 

It  was  only  a  step  up  street  from 
the  Madison  Square  Theatre  to  the 
Empire,  but  it  was  a  stride  ahead 
for  young  Edeson  when  he  began  to 
play  juveniles  in  Charles  Frohman's 
Stock  Company  in  December,  1894. 
For  three  years  he  had  conspicuous 
parts  in  all  the  new  plays,  and 
when  Maude  Adams  made  her  de- 
but as  a  star,  he  became  her  leading 
man  and  played  the  name  part  in 
Barrie's  "The  Little  Minister."  He 
was  now  coming  in  to  a  position 
in  the  theatre,  and  during  the  few 
years  following  he  created  the  parts 
of  Captain  Carew  in  Marshall's 
"His  Excellency  the  Governor"  at 
the  Lyceum  Theatre ;  David  Bran- 
don in  Zangwill's  ''Children  of  the 
Ghetto"  at  the  Herald  Square,  and 
shortly  afterwards  in  the  same  play 
at  the  Adelphi  Theatre,  London; 
leading  parts  in  "The  Greatest 
Thing  in  the  World,"  and  "The 
Moment  of  Death"  at  Wallack's ; 
and  Edward  Warden  in  the  first 
performance  of  Clyde  Fitch's  "The 
Climbers"  at  the  Bijou  Theatre, 
December  17,  1900. 

The  next  time  he  was  seen  in  a 
new  part  was  as  a  star  at  the  Savoy 
Theatre  in  March,  1902,  in  Rich- 
ard Harding  Davis's  "Soldiers  of 
Fortune.''  Since  then,  his  new 
plays  have  been  "The  Rector's  Gar- 
den," "Ranson's  Folly,"  "Strong- 
heart,"  "The  Sinner,"  "Classmates," 
"The  Call  of  the  North,"  "The 
Noble  Spaniard,"  "The  Outpost"  in 
one  act,  and  "A  Man's  A  Man." 


THE  RECTOR 

S GARDEN ' 


oM  P 

I — I    II.        "THE  RECTOR'S 

RODER5T 

EDESON 


M 


1SS 


I    L  L    I    E 


trail  of  Billie 
Burke's  career  re- 
quires quite  a  geo- 
graphical sprint.  She 
was  born  in  Wash- 
ington, D.  C.,  in  1886 ; 
received  her  education  in  France ; 
toured  through  Austria,  Russia, 
Germany  and  France  when  in  her 
mid-teens ;  then  raised  herself  to  a 
high  place  among  London  musical 
comediennes,  and  returned  home  to 
become  almost  immediately  popular 
as  a  star  in  every  city  she  has 
visited. 

Miss  Burke  was  christened  Ethel, 
but  she  wished  to  perpetuate  the 
name  of  her  father,  an  actor  af- 
fectionately known  as  Billie  Burke, 
and  so  for  professional  purposes 
she  took  the  tripping  alliterative 
trade-mark.  Her  prominence  is 
not  entirely  the  accident  which 
some  people  may  imagine  it  to  be. 
It  is  contributed  to,  of  course,  by 
her  youth  and  beauty,  but  it  is 
grounded  in  a  zealous  ambition  and 
hard  study. 

She  was  taken  to  England  when 
twelve  years  old  to  improve  her 
voice  and  crossed  to  France  to  add 
languages  to  her  accomplishments. 
Her  beginnings  before  the  Euro- 
pean public  were  made  as  a  singer 
of  light  popular  songs.  London 
first  saw  her  at  the  Pavilion,  after 


TR1XIE  IN   "MY   WIFE" 


B       U        K.      K 


L 


which  she  was  obscured  in  pro- 
vincial pantomime  at  Glasgow  and 
Sheffield.  Returning  to  the  British 
metropolis  she  was  engaged  by 
George  Edwardes  for'his  light  mu- 
sical productions,  and  she  soon  rose 
to  a  leading  position  through  the 
series  which  included  "The  School 
Girl,"  "The  Duchess  of  Dantzic," 
"The  Blue  Moon,"  the  Coliseum 
revue  of  1906,  and  "The  Belle  of 
Mayfair." 

Her  success  in  this  branch  of  her 
profession  only  stimulated  her  to 
honor's  in  another,  so  she  sought 
an  engagement  in  straight  comedy, 
and  in  the  spring  of  1906  she 
appeared  as  leading  woman  for 
Charles  Hawtrey  in  "Mr.  George" 
at  the  Vaudeville  Theatre.  It  was 
her  succeeding  success  as  Stella  in 
"Mrs.  Ponderbury's  Past"  at  the 
same  theatre  that  induced  Charles 
Frohman  to  bring  her  to  America 
as  John  Drew's  leading  woman,  in 
"My  Wife"  at  the  Empire.  In 
1908  she  became  a  star  in  "Love 
Watches,"  giving  a  bewitching  per- 
formance as  Jacqueline.  She  fol- 
lowed this  in  the  name  part  in  W. 
Somerset  Maugham's  "Mrs.  Dot." 
Behind  the  springtime  of  Billie 
Burke's  laughing  eyes  there  is  a 
secret ;  it  is  the  intense  inevitable 
regret  of  the  pretty  comedienne 
that  she  is  not  playing  tragedy. 


Miss   BILLIE  BURIiE 


JAQUELINE  IN  "LOVE  WATCHES" 


LORD  HARDCASTLE 
IX  "SHE  STOOPS  TO  CONQUER" 


Mr   WILLIAM    H    CRANE 


W 


I  L  L  I  A  M     H  . 
CRANE'S    audiences 
have    always    known 
him   as   an   old   man, 
but  his  friends  think 
""of  him  only  as  young, 
first   part   on   the   stage. 


His  very 
acted  in  Mrs.  Holman's  company  at 
Utica,  N.Y.,  July  13,  1863,  was  that 
of  an  old  notary  in  "The  Daugh- 
ter of  the  Regiment,"  although  at 
the  time  he  was  only  eighteen  years 
of  age.  His  gallery  has  disclosed  the 
amiable,  the  shrewd,  the  gullible,  the 
gay,  but  seldom  the  wicked  type  of 
middle-aged  or  old  man.  The  pub- 
lic are  so  accustomed  to  like  Mr. 
Crane's  characters  that  not  long 
ago  when  he  acted  an  unsympa- 
thetic French  plutocrat  in  "Business 
is  Business,"  an  uncommonly  fine 
performance  did  not  elicit  entire 
forgiveness  for  the  imposition  his 
public  felt  had  been  put  upon  them 
by  being  robbed  of  their  laugh. 

In    Mrs.    Holman's    little    com- 
pany Crane  sang,  acted  and  danced, 


but  he  soon  graduated  to  a  fixed 
line  as  a  low  comedian  in  support 
of  Alice  Gates.  One  of  the  cele- 
brated parts  that  attaches  to  his 
earlier  years  is  Le  Blanc,  of  which 
he  was  the  original  in  "Evangel- 
ine.''  He  appeared  in  several  mu- 
sical companies,  but  finally  created 
the  part  of  Col.  M.  T.  Elevator, 
in  a  comedy  called  "Our  Boarding 
House,"  produced  at  the  Park  The- 
atre, New  York,  in  January,  1877. 
He  met  Stuart- Robson  in  this  com- 
pany, and  the  sequel  is  significant 
in  the  annals  of  American  comedy. 
Robson  and  Crane  two  years 
later  formed  a  partnership  to  act  in 
American  comedies  and  for  ten 
years  their  productions  were  the 
vogue.  Among  the  comedies  in 
which  they  played  together  were 
"The  Comedy  of  Errors,"  in  which 
they  acted  the  two  Dromios,  "Our 
Bachelors,"  "Flats  and  Sharps," 
"Twelfth  Night,"  "The  Cherubs," 
and  the  unforgettable  "The  Henri- 
etta," in  which  Crane  played 


Nicholas    Yanalstyne    and    Robson 
was  Bertie  the  Lamb. 

Crane  headed  his  own  company 
in  January,  1890,  when  he  made 
his  hit  as  Senator  Hannibal  Rivers 
in  "The  Senator."  His  succeeding 
comedies  have  been  "On  Proba- 
tion," "For  Money,"  "The  Ameri- 
can Minister,"  "Brother  John," 
"The  Merry  Wives  of  Windsor," 
in  which  he  acted  Falstaff,  "The 
Pacific  Mail,"  "His  Wife's  Father," 
"The  Governor  of  Kentucky," 
"The  Fool  of  Fortune,"  "A  Vir- 
ginia Courtship,"  "His  Last  Ap- 
pearance," "His  Honor  the  Mayor," 
"Worth  a  Million,"  "The  Head  of 
the  Family,"  "Peter  Stuyvesant." 
"A  Rich'  Man's  Son,"  "David 
Harum,"  "The  Spenders,"  "Busi- 
ness is  Business,"  "The  American 
Lord,"  "The  Price  of  Money," 
and  "Father  and  the  Boys."  Mr. 
Crane  has  also  acted  Sir  Anthony 
Absolute  and  Old  Hardcastle  in  all- 
star  revivals  of  "The  Rivals"  and 
"She  Stoops  to  Conquer." 


Mr    WILLIAM     H    CRANE 


MIS5     EMIT 


'THE  PRIMA  DONNA- 


T 

are  instances 
of  actresses  who  have 
abandoned  tragedy 
for  comedy,  romance 
for  realism,  singing 
'for  acting,  comic 
opera  for  grand  opera,  but  Fritzi 
Scheff  furnishes  probably  the  first 
example  of  a  grand  opera  artiste 
who  has  stepped  successfully  from 
the  classic  plane  of  Mozart  and 
Wagner  to  the  popular  plane  of 
Herbert  and  Suppe.  After  estab- 
lishing herself  in  Europe  as  a 
light  soprano  of  uncommon  tem- 
perament, she  came  to  the  Metro- 
politan Opera  House,  and  from  that 
celebrated  stage  passed  gracefully 
into  a  position  in  the  front  rank 
of  American  comic  opera  prima 
donnas. 

Fritzi  Scheff  is  the  daughter  of 
Dr.  Jager  and  Hortense  Scheff. 
She  was  born  in  the  year  1879  in 
Vienna,  where  her  father  was  a 


physician  and  her  mother  was  a 
prima  donna  at  the  Imperial  Opera 
House.  As  late  as  1906  Mine. 
Scheff- Jager  was  singing  in  grand 
opera  in  Frankfort.  Miss  Scheff 
made  her  musical  studies  in  Dres- 
den and  Frankfort.  She  made  her 
debut  in  the  latter  place  in 
1897,  singing  Juliet  in  Gounod's 
"Romeo  and  Juliet."  Among  the 
roles  which  she  added  to  her  reper- 
toire during  these  two  years  were 
the  prima  donna  parts  in  Gounod's 
"Faust,"  "Cavalleria  Rusticana." 
"La  Boheme,"  and  "Mignon." 
Maurice  Grau,  the  director  of  the 
Metropolitan  Opera  House,  heard 
her  sing  in  Munich  in  190x3  and 
engaged  her  for  his  company.  She 
found  herself  at  once  in  the  most 
distinguished  assembly  of  artists 
that  this  great  stage  has  ever 
known.  Others  in  the  company 
while  she  sang  there  were  Eames, 
Sembrich,  Melba,  Nordica,  Calve, 


Jean  and  Eclouard  de  Reszke, 
Caruso,  Lassalle,  and  Plancon. 
Yet  she  maintained  herself  in  a 
popular,  if  not  a  preeminent,  posi- 
tion, and  was  much  applauded  by 
the  public  for  her  cleverness  and 
vivacity.  During  three  years  at 
the  Metropolitan  she  sang  in  "Fi- 
delio,"  "Lohengrin,"  "The  Flying 
Dutchman,"  "Die  Walkiire,"  Mu- 
setta  in  "La  Boheme,"  Zerlina  in 
"Don  Giovanni,"  Cherubino  in 
"The  Marriage  of  Figaro,"  Papa- 
gena  in  "The  Magic  Flute,"  Nedda 
in'Tagliacci,"  and  Asa  in"Manru." 
Her  debut  in  comic  opera,  which 
she  at  once  sang  in  English,  was 
made  in  Washington,  November  9, 
1903,  in  Victor  Herbert's  "Babette." 
She  has  since  sung  in  "The  Two 
Roses,"  which  was  a  musical  ver- 
sion of  "She  Stoops  to  Conquer"; 
"Fatinitza,"  "Girofle-Girofla,"  "Boc- 
caccio," "M'lle  Modiste,"  and  "The 
Prima  Donna." 


(0) 

•  I 


SYDNEY  CARTON  IN  "THE  ONLY  WAY" 


*$HOSE  close  to  Henry 
Miller  know  that, 
much  as  the  public  is 
indebted  to  him  for 
the  pleasure  his  own 
fine  characterizations 
have  given  them,  they  are,  in  re- 
cent years,  since  he  has  been  active 
as  the  director  of  his  own  stage, 
under  quite  as  much  obligation  for 
his  influence  on  the  interpretation 
and  realization  of  the  characters 
and  ensemble  about  him.  There 
are  some  who  contend  that  Mr. 
Miller  is  the  greatest  living  stage 
manager.  He  has  done  much  to 
support  this  contention,  for  not  only 
has  his  judgment  searched  out  new 
plays  with  values  along  unconven- 
tional lines,  but  his  gifts  are  pro- 
nounced for  creating  atmosphere 
and  reality,  less  with  scenery,  lights 
and  furniture  than  with  the  revela- 
tion of  the  psychology  of  the  drama 
and  the  actor.  Correct  environ- 
ment subordinated  to  the  full  reve- 
lation of  the  characters  in  the 
drama  is  the  artistic  keynote  of  his 
productions. 

Mr.  Miller  is  only  an  American 
by  adoption.  He  was  born  in 
England  and  went  to  school  in 
Canada.  His  early  years  in  the 
theatre,  which  he  entered  for  a 
career  first  when  a  lad  of  eighteen, 
were  spent  under  the  influence  of 
C.  W.  Couldock  and  Dion  Bouci- 
cault,  to  whom  he  renders  apprecia- 
tive homage.  His  first  part  was  the 
bleeding  sergeant  in  "Macbeth"  at 
the  Grand  Opera  House,  Toronto, 


D'ARCY  OF  THE  GUARDS" 


MR.     HENR.Y      MILLER, 


early  in  1878.  Before  the  end  of 
the  season  he  had  worked  his  way 
into  leading  parts. 

A  varied,  valuable  experience  fol- 
lowed during  the  next  fifteen  years. 
He  played  leading  parts  with  Hel- 
ena Modjeska,  Adelaide  Neilson, 
Marie  Wainwright  and  the  Lyceum 
Stock  Company,  and  was  the  origi- 
nal or  first  American  embodiment 
of  Howard  in  "Young  Mrs.  Win- 
throp,"  Robert  Gray  in  "The 
Wife,"  Clement  Hale  in  "Sweet 
Lavender,"  Mark  Field  in  "Honor 
Bright,"  Colonel  Kerchival  West  in 
"Shenandoah,"  Alfred  Hastings  in 
"All  the  Comforts  of  Home,"  Car- 
roll Cotton  Vanderstyle  in  "The 
Merchant,"  the  Earl  of  Leicester  in 
"Amy  Robsart,"  "Frederic  Lemai- 
tre"  in  Clyde  Fitch's  one-act  play 
of  that  name,  and  Dick  Wellington 
in  "His  Wedding  Day." 

Mr.  Miller's  first  permanent  as- 
sociation was  as  leading  man  at  the 
Empire  Theatre,  which  he  entered 
in  1893,  and  the  importance  and 
expertness  of  his  performances 
there  make  it  seem  as  if  he  had 
remained  longer  than  three  years. 
At  the  Empire  he  played  Mr.  Owen 


EPHEN  OHENT  IN  "THE  GREAT  DIVIDE" 


in  "Liberty  Hall,"  Paul  Kirk-land  in 
"The  Younger  Son,"  Ted  Morris 
in  "The  Councillor's  Wife,"  Mr. 
Brabazon  in  "Sowing  the  Wind," 
James  Ffolliott  in  "Gudgeons," 
David  Remon  in  "The  Masquer- 
aders,"  Harold  Wynn  in  "John-a- 
Dreams,"  John  Worthing  in  "The 
Importance  of  Being  Earnest," 
Michael  Faversham  in  "Michael 
and  His  .Lost  Angel,"  Stephen 
d'Acosta  in  "A  Woman's  Reason" 
and  Rudolph  in  "Bohemia." 

He  began  to  star  in  1897  and  his 
direction  has  given  significance  and 
force  to  every  element  of  the  pro- 
ductions in  which  he  has  appeared. 
Among  the  important  plays  he 
has  presented  are  "Heartsease," 
"The  Master,"  "The  Only  Way," 
"D'Arcy  of  the  Guards,"  "The 
Taming  of  Helen,"  "Joseph 
Entangled,"  "Grierson's  Way," 
"Young  Fernald,"  "The  Great  Di- 
vide" and  "The  Faith  Healer." 
During  four  summers  he  directed 
and  acted  with  Margaret  Anglin 
in  notable  revivals  in  San  Fran- 
cisco, and  he  placed  her  before  the 
American  public  as  a  star  in  "Zira" 
and  "The  Great  Divide."  Mr. 
Miller  has  produced  many  plays  in 
which  he  did  not  act,  among  which 
are  "Brown  of  Harvard,"  Percy 
Mackaye's  "Mater,"  Robert  Brown- 
ing's "Pippa  Passes,"  Robert  Da- 
vis's  "The  Family"  and  C.  R. 
Kennedy's  "The  Servant  in  the 
House."  In  the  summer  of  1909 
he  acted  in  London  with  distin- 
guished success. 


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MR..     HENR.Y     MILLER. 


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in  England  in 
'  1896,  searching  for  a 
,  a  leading  lady  to  sup- 
plant Georgia  Cay- 
van  in  the  affections 
'of  the  old  Lyceum's 
clientele,  Daniel  Frohman  heard  of 
a  beautiful  young  girl  named 
Florence  Friend  playing  on  tour  in 
"The  Late  Mr.  Costello."  He 
found  her  at  the  Grand,  Islington, 
and  after  viewing  one  performance 
he  engaged  her  to  come  to  America. 
From  the  time  she  stepped  on  the 
steamer  and  the  home  country  dis- 
appeared below  the  horizon  the  ca- 
reer of  Florence  Friend  was  closed. 
She  became  Mary  Mannering  and 
America  knows  her  by  no  other 
name. 

Miss  Mannering  studied  for  the 
stage  under  Herman  Vezin.  Her 
first  engagement  was  with  Kyrle 
Bellew  and  Mrs.  Potter  while  they 
were  on  tour  in  England,  and  she 
made  her  debut  as  Zela  in  Mr.  Bel- 
lew's  "Hero  and  Leander"  at  Man- 
chester, May  9,  1892,  when  she  was 
fifteen  years  old,  and  she  acted  in 
London  soon  after  under  the  same 
auspices.  For  four  years  she  di- 
vided her  activities  between  me- 
tropolis and  provinces,  rising  finally 
to  leading  parts  before  she  left 
England. 

Her  debut  at  the  Lyceum  was 
made  as  Leonie  in  "The  Courtship 
of  Leonie,"  November  20,  1896,  and 


BARBARA   FR1ETCHIE" 


during  the  remaining  years  that  the 
Lyceum  stood  she  maintained  her 
position  there  at  the  head  of  the 
company  in  the  productions  of  "The 
Late  Mr.  Costello,"  "The  First 
Gentleman  of  Europe,"  "The  May- 
flower," "The  Princess  and  the 
Butterfly,"  "The  Tree  of  Knowl- 
edge," "Trelawney  of  the  Wells," 
"Americans  at  Home"  and  "John 
Ingerfield."  Thence  she  went  to 
Daly's  Theatre  in  the  spring  of 
1900,  when  that  house  was  under 
Daniel  Frohman's  management,  and 
acted  in  "The  Ambassador"  and 
"The  Interrupted  Honeymoon." 

Miss  Mannering  began  to  star  in 
the  autumn  of  that  year.  Her  first 
play  was  the  dramatization  of  Paul 
Leicester  Ford's  story  of  Colonial 
days,  "Janice  Meredith,"  and  her 
popularity  was  at  once  widespread. 
Since  then  she  has  appeared  in 
"White  Roses,"  as  Pauline  in  "The 
Lady  of  Lyons,"  as  Geraldine  in 
Clyde  Fitch's  "The  Stubbornness 
of  Geraldine,"  as  Harriet  Baird  in 
"Harriet's  Honeymoon,"  in  "Nancy 
Stair,"  as  Lady  Alithea  Frobisher 
in  "The  Walls  of  Jericho,"  as  Bea- 
trice in  "The  House  of  Silence," 
as  Betsy  in  "Glorious  Betsy,"  in 
"The  Struggle,"  "A  House  of 
Cards,"  "Step  by  Step,"  "The 
Truants,"  "The  Independent  Miss 
Gower,"  and  "Kiddie,"  subse- 
quently renamed  "A  Man's 
World.". 


n 


J'liss 
MAR.Y    MANNER.INC 


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«^f!IKE  a  number  of 
'  other  popular  young 
,  actresses,  some  of 
them  stars  as  she  is, 
Marie  Doro  had  her 
"*^stage  beginnings  in 
the  chorus  of  musical  comedy.  She 
reached  the  distinction  of  a  char- 
acter all  her  own  while  playing  in 
a  musical  comedy  company  in  San 
Francisco  in  1903.  She  went  to 
New  York  the  same  year  and  ap- 
peared as  Rosalba  Peppercorn  in 
"The  Billionaire,"  in  support  of  the 
late  Jerome  Sykes,  and  as  Nancy 
Lowly  in  "The  Girl  from  Kay's." 

Charles  Frohman  saw  possibili- 
ties of  higher  things  from  her,  and 
has  directed  her  movements  since. 
She  made  her  first  appearance  in 
drama  as  Lady  Millicent  in  Barrie's 
"Little  Mary"  at  the  Empire,  Jan- 
uary 4,  1904.  When  Mrs.  Gilbert 
made  her  debut  as  a  star  in  her 
eighty-second  year,  Miss  Doro 
played  Dora  in  Fitch's  "Granny," 
and  in  January,  1905, she  created  the 
title  role  in  "Friquet"  at  the  Savoy. 
That  play  was  not  a  success,  and 
she  went  to  London  in  William 
Collier's  company  to  play  Lucy 
Sheridan  in  "The  Dictator,"  and 
she  remained  to  create  the  title  role 
in  Gillette's  "Clarice"  and  to  act 
Alice  Faulkner  with  the  actor- 
dramatist  when  he  presented  "Sher- 
lock Holmes"  in  the  British  capital. 
That  year  of  1905  was  a  busy  one 
for  Miss  Doro,  for  at  the  close  of 
Mr.  Gillette's  brief  London  season, 
they  hurried  home  and  played 
"Clarice"  together  on  tour  during 
1906  and  1907.  Her  next  appear- 
ance was  as  Carlotta,  the  little 
semi-English  Syrian  girl,  in  W.  J. 
Locke's  comedy,  "The  Morals  of 
Marcus,"  at  the  Criterion  Theatre, 
November  18,  1907.  After  a  long 
starring  tour  in  this  play,  she  re- 
turned to  the  same  theatre  in 
March,  1909,  and  appeared  as  Ben- 
jamine  Monnier  in  "The  Richest 
Girl,"  but  soon  resumed  her  tour  in 
Locke's  comedy. 

Miss  Doro  is  a  young  actress  of 
piquant  beauty,  marked  personality 
and  rare  expressiveness  of  counte- 
nance. She  has  been  conspicuous 
on  the  stage  only  a  short  time,  but 
she  has  steadily  increased  the  num- 
ber of  her  admirers. 


* 


MISS     MARIE    DORO 


IN  "A 
ROMANCE  OF  ATHLONE ' 

Copyright  1904  by  Sweut 


tMR..     CHAUNCE.Y 


is  probably 
not  in  America  an- 
other actor  who  has 
so  faithful  an  indi- 
vidual following  as 
^Chauncey  Olcott.  It 
used  to  be  said  that  Sol  Smith  Rus- 
sell drew  people  to  the  theatre  who 
would  go  to  see  no  one  else.  "Ben- 
Hur"  has  been  made  one  of  the 
most  largely  attended  plays  of  the 
past  ten  years  by  others  than  regu- 
lar theatre-goers. 

Mr.  Olcott,  likewise,  has  his  own 
clientele,  augmented  to  be  sure  by  a 
large  section  of  the  regular  patrons 
of  the  theatre.  Rarely  does  he  ap- 
pear that  the  theatre  is  not  filled  in 
every  part.  He  has  made  a  spe- 
cialty of  romantic  and  sentimental 
Irish  comedy  and  in  the  course  of 
each  play  he  sings  several  songs  of 
his  own  composition. 

The  name  under  which  he  is  so 
widely  known  was  adopted  by  him 
for  professional  purposes.  His  own 
name  is  Chancellor  John  Olcott.  He 
was  born  in  Buffalo  in  1860  and  at- 
tended the  public  schools  there. 
His  first  dozen  years  on  the  stage 
were  not  at  all  prophetic  of  his  later 
career.  He  began  his  life  in  the 
theatre  in  1880  as  a  ballad  singer 
with  Emerson  and  Hooley's  Min- 
strels and  sang  afterwards  with 


A 

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EDMU.VD  BURKE 


t 


OUC      OTT 


Haverly's     and     Carncross'     Min- 
strels. 

It  was  but  a  step  into  light  opera 
and  in  1886  he  sang  Pablo  in 
"Pepita"  at  the  Union  Square  The- 
atre. Lillian  Russell  sang  the 
title  role.  He  was  with  Denman 
Thompson  in  "The  Old  Home- 
stead" from  1888  to  1890.  when  he 
became  leading  tenor  with  the  Duff 
Opera  Company,  and  sang  Xanki- 
Poo  in  "The  Mikado"  and  Ralph 
Rackstraw  in  "H.  M.  S.  Pinafore." 
The  next  season  he  appeared  in 
London  at  the  Criterion  Theatre  in 
"Miss  Decima"  and  "Blue-Eyed 
Susan." 

Up  to  that  time  W.  J.  Scanlon 
had  been  the  idol  of  the  large  sec- 
tion of  the  public  who  love  senti- 
mental Irish  plays  with  a  romantic 
singing  hero.  On  his  death,  his 
manager,  Augustus  Pitou,  engaged 
Mr.  Olcott  to  star  in  this  type  of 
play  and  his  success  was  instant 
and  he  has  maintained  it.  He  has 
acted  in  a  new  piece  each  season. 
The  well  remembered  ones  are 
"Mavourneen,"  "The  Irish  Artist," 
"The  Minstrel  of  Clare,"  "Sweet 
Inniscarra,"  "A  Romance  of  Ath- 
lone,""Garrett  O'Magh,""Old  Lim- 
erick Town,"  "Terence,"  "Edmund 
Burke,"  "Eileen  Asthore,"  "O'Neill 
of  Derry,"  and  "Ragged  Robin." 


IN  "OLD  LIMERICK  TOWN" 
IN  "O'NEILL  OF  DERRTf 


am    BID    am     BmBiDgmB[i] 


mBcDB 


! 


i 

B 


MISS      BLR-THA     GALLAND 


BERTHA  GALLAXD 
is  a  beautiful  young 
,  star  who  rose  rapidly 
to  a  position  of  prom- 
.^inence,  made  herself 
'^admired  and  popular, 
and  awaits  the  proper  vehicle  to 
carry  her  further  along  in  the  ca- 
reer of  her  ambitions.  Her  dem- 
onstrated gifts  are  virtually  all  for 
romantic  comedy.  Her  first  year 
on  the  stage  was  devoted  to  a  star- 
ring tour  through  Xew  England  as 
Juliet  and  the  red-handed  Queen 
of  Scotland.  This  was  in  1897. 
The  next  year  she  co-starred  with 
Joseph  Haworth  and  added  Ophelia 
to  her  provincial  repertoire. 

It  was  after  these  brief  experi- 
ences that  she  came  to  New  York 
and  presented  herself  for  metro- 
politan favor  as  the  Princess  Ottalie 
in  "The  Pride  of  Jennico"  with 
James  K.  Hackett  at  the  Criterion 
Theatre,  March  6,  1900.  She  re- 
ceived approval  in  no  stinted  meas- 
ure. She  remained  Mr.  Hackett's 
leading  woman  for  two  years.  It 
was  but  a  step  to  a  position  at  the 
head  of  her  own  company.  This 
was  accomplished  September  10, 
1901,  at  the  old  Lyceum  Theatre, 
when  she  appeared  as  Iseult  in 
"The  Forest  Lovers."  Her  appear- 
ances in  this  play  were  interrupted 
the  next  month,  but  only  tempo- 
rarily, by  her  playing  of  'Pansy  de 
Castro  in  "The  Love  Match,"  as 
she  starred  as  Iseult  for  a  year, 
following  it  with  Esmeralda  in  a 
dramatization  of  Victor  Hugo's 
"Notre  Dame."  At  the  head  of  a 
Washington  stock  company  during 
the  summer  of  1903  she  played 
Lady  Teazle  and  Juliet. 

Miss  Galland's  charms  and  gifts 
were  best  displayed,  however,  as 
capricious  Dorothy  Vernon  in  Paul 
Kester's  successful  romantic  com- 
edy, "Dorothy  Vernon  of  Haddon 
Hall,"  which  delighted  her  audi- 
ences in  all  parts  of  the  country 
during  two  long  seasons.  Begin- 
ning in  the  fall  of  1905,  David 
Belasco  directed  her  on  a  tour  of 
the  country  in  "Sweet  Kitty  Bel- 
lairs."  Two  years  of  absence  from 
the  stage  followed,  owing  to  her 
inability  to  secure  a  starring  vehi- 
cle. Miss  Galland  reappeared  in 
1909,  acting  Eve  in  "The  Return  of 
Eve"  in  New  York  and  through 
the  country. 


(D 


a 


m 


a 


m 


S    B  LR_T  HA  CALLAND 


IN  "THE  CASE  OF  REBELLIOUS  SUSAN 


his  self-revelations 
'  on  the  stage,  Herbert 
,  Kelcey     has     always 
been     correct.        His 
dress    has    been    cor- 


"reel,  though  far  re- 
moved from  that  of  a  fop ;  his  de- 
portment has  been  correct,  without 
a  trace  of  affectation ;  and  his  act- 
ing has  been  correct,  with  a  niceness 
which  has  commended  him  as  one 
of  the  most  finished  of  our  actors 
of  modern  patrician  roles. 

Mr.  Kelcey  is  an  Englishman, 
and  he  had  his  early  stage  experi- 
ences in  his  own  country.  His 
debut  was  made  at  Brighton  in 
"Flirtation"  in  1877.  He  roughed 
it  in  the  provincial  theatres  for 
three  years  and  then  reached  the 
London  stage.  Two  years  later  he 
came  to  America  and  made  his  first 
appearance  in  New  York,  at  Wai- 
lack's  Theatre,  as  Philip  Radley  in 
"Taken  from  Life."  His  early  en- 
gagements were  all  at  Wallack's, 
the  Fifth  Avenue,  and  the  Madison 
Square  Theatres,  which  were  the 
fashionable  stages  of  the  eighties. 
During  this  time  he  was  the  original 
in  America  of  many  interesting 
characters.  Among  them  were 
Count  Orloff  in  Sardou's  "Diplo- 
macy," and  the  Spider  in  "The  Sil- 
ver King." 

When  the  Lyceum  was  the  first 
stock  company  in  America  Mr.  Kel- 
cey was  its  leading  man.  He  cre- 
ated the  principal  roles  at  the  little 
house  in  Fourth  Avenue  for  nine 
consecutive  seasons  from  1887  to 
1896.  Among  the  plays  which  he 
helped  to  make  popular  were  "The 
Great  Pink  Pearl,"  "The  Wife," 


• 


"Sweet  Lavender,"  "The  Charity 
Ball, ""The  Idler,"  "Nerves," "Lady 
Bountiful,"  "Squire  Kate,"  "The 
Gray  Mare,"  "The  Guardsman," 
"The  Amazons,"  "The  Case  of  Re- 
bellious Susan,"  "An  Ideal  Hus- 
band," "The  Home  Secretary,"  and 
"The  Benefit  of  the  Doubt."  With 
Mr.  Kelcey  in  this  company  were 
Georgia  Cayvan,  Effie  Shannon, 
Mrs.  Whiffen,  Mr.  and  Mrs. 
Charles  Walcot,  Isabel  Irving,  May 
Robson,  W.  J.  Le  Moyne,  Fritz 
Williams,  Nelson  Wheatcroft,  and 
many  others  of  subsequent  high 
position. 

While  at  the  Lyceum  Mr.  Kelcey 
found  the  continuity  of  well- 
dressed,  correct-mannered,  even- 
tempered  society  parts  monotonous, 
and  he  sought  a  wider  field  of  ex- 
pression in  1896.  His  first  part  off 
that  stage  was  Alan  Kendrick,  in 
support  of  Mrs.  Carter,  in  "The 
Heart  of  Maryland,"  and  he  was 
next  seen  in  "A  Coat  of  Many 
Colors."  After  an  absence  of  only 
two  years  from  the  Lyceum  stage 
he  reappeared  among  his  familiar 
surroundings  as  a  star  with  Miss 
Effie  Shannon,  in  Clyde  Fitch's 
"The  Moth  and  the  Flame," 
April  11,  1898.  Since  that  date 
these  two  players  have  headed  their 
own  company  and  have  made  them- 
selves popular  in  all  parts  of  the 
country.  They  have  appeared  in 
these  plays:  "My  Lady  Dainty," 
"My  Daughter-in-Law,"  "Manon 
Lescaut,"  "Her  Lord  and  Master," 
"Sherlock  Holmes,"  "Taps,"  "The 
Lightning  Conductor,"  "The 
Daughters  of  Men,"  "The  Walls  of 
Jericho,"  and  "The  Thief." 


• 


R 


•OSE  STAHL  is 
known  from  one  end 
of  the  country  to  the 
other  for  her  singu- 
larly  amusing  per- 
formance of  Patricia 
O'Brien  in  "The  Chorus  Lady." 
Nearly  ten  years  ago  James  Forbes 
wrote  the  one-act  sketch  of  this 
name,  and  Miss  Stahl  used  it 
with  immense  favor  in  vaudeville. 
Though  it  had  not  worn  out  its  life 
in  this  form,  he  elaborated  the  story 
into  a  four-act  play,  using  his  orig- 
inal material  largely  in  the  second 
act,  and  Miss  Stahl  repeated  her  hit 
as  Patricia  in  the  longer  play  in 
1906,  and  in  this  form  she  has 
played  "The  Chorus  Lady''  ever 
since. 

There  seems  to  be  no  diminution 
of  her  favor,  and  there  would  ap- 
pear to  be  an  indefinite  future  be- 
fore a  comedy  of  so  much  reality 
and  diversion.  Phoebe  Davies  play- 
ed Anna  Moore  in  "  'Way  Down 
East"  eleven  years.  Lewis  Morrison 
played  Mephistopheles  for  twenty 
years.  Charles  L.  Davis  acted  "Al- 
vin  Joslyn"  nearly  all  of  a  long  life. 
James  O'Neill  played  "The  Count 
of  Monte  Cristo"  over  five  thousand 
times.  Kate  Claxton  equalled  this 
record  with  "The  Two  Orphans." 
Denman  Thompson  began  to  act 
Uncle  Joshua  Whitcomb  in  vaude- 
ville in  1875  and  he  has  acted  that 
character  every  one  of  the  thirty- 


O  S  E 


five  years  since.  It  is  possible  "The 
Chorus  Lady"  is  in  the  springtime 
of  its  year. 

Miss  Stahl  began  her  stage  career 
under  Charles  Frohman's  manage- 
ment in  small  parts  on  tour.  Before 
she  found  the  delectable  Patricia 
she  had  an  active  career  in  stock 
and  travelling  companies.  It  was  a 
rough-and-ready  experience,  but 
manifestly  it  taught  her  human  na- 
ture and  a  secure  technique.  She 
followed  this  with  a  longer  period 
in  every  line  of  parts  in  perma- 
nent companies  in  Philadelphia, 
Columbus,  and  Rochester.  Her 
next  experiments  were  as  a  star 
in  "An  American  Gentleman," 
"Janice  Meredith,"  and  other  plays. 
When  she  secured  Mr.Forbes's  little 
sketch  she  went  into  vaudeville  and 
has  been  prosperous  and  conspicu- 
ous as  "The  Chorus  Lady"  ever 
since  in  both  America  and  England. 


• 


MADAME 
N AX  I  MOVA 


8&L«___« «°9?HE    career    of    Alia 

Nazimova  presents  an 
interesting  variation 
on  the  story  of  those 
artists  whom  Europe 
""""has  cast  into  the 
melting-pot  of  the  American  stage. 
Tommaso  Salvini,  Sarah  Bernhardt, 
and  Eleanor  Duse  came  in  the  blaz- 
ing light  of  a  recognized  greatness 
which  this  country  could  not  pat- 
ronize with  discovery.  None  of 
them  remained  even  to  learn  En- 
glish. Bohemia  sent  Fanny  Jan- 
auschek  in  the  full  flower  of  her 
career,  though  our  own  tongue 
was  the  solvent  which  assimilated 
her  permanently  here.  Young 
Alexander  Salvini  came  in  the 
reflected  light  of  his  celebrated 
father.  Even  Helena  Modjeska 
had  a  name  to  conjure  with  before 
she  reached  these  shores. 

Nazimova  came  here  in  the  fall 
of  1905,  as  the  leading  support  of  a 
Russian  actor,  Paul  Orleneff,  and 
appeared  unheralded  and  incon- 
spicuously at  the  Criterion  Theatre 
in  a  repertoire  of  unknown  plays  in 
her  native  tongue.  The  apprecia- 
tion of  the  few  who  saw  her  at 


once  leaped  even  these  bars.  Henry 
Miller  offered  to  star  her  if  she 
would  learn  English,  of  which  she 
did  not  then  know  six  words.  This 
was  in  May,  1906.  Six  months 
later  she  made  her  debut  in  English 
at  the  Princess  Theatre,  with  only 
an  .interesting  trace  of  accent,  and 
her  performance  of  Hedda  Gabler 
made  a  deep  impression. 

This  interesting  woman  was  born 
on  May  22,  1879,  in  Yalta,  Crimea, 
on  the  Black  Sea.  She  was  taken 
to  Geneva  when  very  young. 
There,  with  a  Russian's  talent  for 
tongues,  she  soon  learned  to  speak 
French  and  German  fluently  and  to 
play  the  violin.  But,  when  at 
twelve  years  of  age  she  returned 
home  to  make  her  first  public  ap- 
pearance as  a  violinist,  she  discov- 
ered she  had  forgotten  her  native 
language  and  had  to  learn  to  speak 
Russian  all  over  again.  Her  musi- 
cal talents  were  so  promising  that 
she  was  sent  in  1892  to  the  Con- 
servatory at  Odessa  to  study  the 
violin,  but  instead  she  chose  the  dra- 
matic course,  and  when  she  gradu- 
ated she  won  the  gold  medal.  Stan- 
isloffsky,  a  great  Russian  stage 


director,  was  in  charge  of  the  Ar- 
tistic Theatre  in  Odessa  at  the  time 
and,  while  she  studied,  she  appeared 
as  a  supernumerary  on  his  stage. 
The  next  year  she  began  her  pro- 
fessional career  as  leading  woman 
of  a  theatre  in  the  city  of  Kostroma 
in  the  North  of  Russia,  and  is  said 
to  have  played  as  many  as  two  hun- 
dred parts  in  a  twelvemonth,  the 
range  covering  rather  more  than 
Polonius's  catalogue. 

She  reached  St.  Petersburg  in 
1903  and  was  seen  in  the  leading 
roles  in  "Zaza,"  "Trilby,"  "Camille/ 
"The  Second  Mrs.  Tanqueray," 
"Hedda  Gabler,"  "Magda,v  and 
other  plays  of  this  highly  seasoned 
order.  With  Paul  Orleneff  she 
left  Russia  in  1904  to  play  the 
interdicted  "The  Chosen  People," 
in  Berlin  and  London,  and  add- 
ing other  plays  to  their  lepertoire 
she  reached  New  York  with  the  re- 
sults already  recited.  Her  English 
repertoire  now  includes  "Hedda 
Gabler,"  "A  Doll's  House,"  "The 
Master  Builder,''  Robert  Braccc's 
"Countess  Coquette,"  Owen  John- 
son's "The  Comet,"  and  Brandon 
Tynan's  "The  Passion  Flower," 


WILLIAM  HODGE'S 
performance  of  Dan- 
iel Vorhees  Pike  in 
Booth  Tarkington  and 
Harrv  Leon  Wilson's 
pla\ 


"The  Man  From 
Home"  has  placed  this  interesting 
comedian  beyond  the  picket  line  of 
musical  comedy.  His  character 
drawing  is  broad  without  being  ex- 
aggerated, it  indicates  one  who 
observes  and  appreciates  human 
nature,  and  he  has  disclosed  a 
broad  versatility  rather  than  a  fixed 
style.  His  comedy  belongs  in  plays 
where  the  denotement  is  subtle 
however  rich  the  fun.  Yet,  in  spite 
of  repeated  demonstration,  the 
musical  comedy  has  had  him  in 
camp  at  least  half  of  his  dozen 
years  on  the  stage. 

His  beginning  in  the  theatre  was 
made  in  1898  with  the  Rogers 
Brothers  in  their  first  starring 
venture,  "A  Reign  of  Error." 
When  James  A.  Herne  was-  looking 
about  for  types  for  his  Long  Island 
play,  "Sag  Harbor,"  he  one  day 
happened  on  a  tall,  lank,  sandy- 
haired  young  man  lounging  before 
his  boarding-house  on  a  cross  street 
near  Broadway.  He  fitted  exactly 
Mr.  Herne's  mental  picture  of 
Freeman  Whitmarsh,  the  village 
man-of-all-work,  and  introducing 
himself  he  was  delighted  to  find  the 
young  man  was  an  actor  and  had 


M 

W      I      L      L     I      A 
HODGE 


M 


IN  "EIGHTEEN  MILES  FROM  HOME" 


some  experience.  It  was  this  casual 
discovery  of  William  Hodge  that 
led  to  the  happy  hit  he  made  as 
Whitmarsh. 

He  created  another  droll  bu- 
colic gem  in  E.  E.  Kidder's  "Sky 
Farm,"  in  1902,  as  the  village  rustic 
dodging  the  widow.  The  next ' 
season  he  appeared  again  in  mu- 
sical comedy.  This  time  it  was  in 
George  Ade's  "Peggy  From  Paris." 
This  was  a  brief  interlude,  how- 
ever, for  he  was  soon  on  the  crest 
of  a  secure  success  as  Mr.  Stub- 
bins  in  Alice  Hegan  Rice's  "Mrs. 
Wiggs  of  the  Cabbage  Patch,"  by 
many  regarded  as  the  best  ex- 
pression of  his  skill  as  a  generic 
comedian.  During  the  two  years 
in  which  he  acted  Mr.  Stub- 
bins  he  devoted  his  leisure  to 
writing  a  play  for  himself.  He 
called  it  "Eighteen  Miles  From 
Home,"  and  it  was  produced  at  the 
beginning  of  the  season  of  1905. 

That  season  proved  the  most 
varied  season  of  his  career,  for 
after  his  trial  as  actor-dramatist  he 
was  soon  back  in  musical  comedy 
again,  first  in  "The  White  Cat" 
and  later  in  "The  Tourist." 
Throughout  the  following  season 
he  was  a  member  of  Joseph  Web- 
er's company  in  "Dream  City." 
His  next  appearance  was  as  Pike, 
the  Kokomo  man  in  Italy,  in  "The 
Man  From  Home." 


MRS.  HOWARD  JEFFRIES,  SR. 
IN  "THE  THIRD  DEGREE" 


MRS.  HOWARD  JEFFRIES,  SR.     C 
IN  "THE  THIRD  DEGREE" 


G 


FILKINS  is 
a  name  which  thea- 
tre-goers have  come 
during  the  past  few 
years  to  associate 
With  an  engaging  per- 
formance of  whatever  character 
she  may  play.  Her  recent  appear- 
ances have  not  been  many,  for  she 
is  removed  from  the  necessity  of 
acting  and  appears  only  when  an 
alluring  opportunity  invites  her. 
In  private  life  Miss  Filkins  is  the 
wife  of  Rear-Admiral  Marix  of  the 
United  States  navy. 

She  was  born  in  Philadelphia 
and  when  a  girl  she  became  a 
member  of  Haverly's  Juvenile 
Pinafore  Company  and  sang  and 
acted  the  part  of  Josephine,  the 
Captain's  daughter.  The  grace 


and  charm  of  this  performance 
commended  her  to  Colonel  John  A. 
McCaull,  who  at  the  time  had  the 
famous  McCaull  Opera  Company, 
and  he  engaged  her.  She  made 
her  New  York  debut  in  his  com- 
pany August  30,  1886,  playing  at 
Wallack's  Theatre  in  "Josephine 
Sold  by  Her  Sisters." 

Miss  Filkins  crossed  the  street 
to  Daly's  the  November  following 
and  there  laid  the  foundations  of 
a  comedy  and  dramatic  career  with 
Ada  Rehan,  Mrs.  Gilbert,  John 
Drew,  James  Lewis  and  the  other 
celebrated  players  under  Augustin 
Daly.  Her  first  appearance  was  as 
Susan  in  "Love  in  Harness."  Af- 
ter leaving  Daly's  her  experience 
was  varied.  It  included  an  extended 
engagement  in  prominent  roles 


with  Modjeska  on  tour,  an  interval 
with  Rosina  Vokes,  a  season  with 
Sol  Smith  Russell,  roles  in  "The 
Passing  Show"  at  the  Casino, 
"The  Sorrows  of  Satan"  at  the 
Broadway,  "The  Last  Chapter'' 
at  the  Garden,  "The  Brixton 
Burglary"  at  the  Herald  Square, 
and  in  "Prince  Otto"  with  Otis 
Skinner.  Miss  Filkins's  last  crea- 
tions in  New  York,,  previous  to 
her  appearance  as  a  star  as  Elisa- 
beth Killigrew  in  "An  American 
Widow"  on  September  6,  1909, 
were  roles  in  Charles  Klein's  three 
plays  "The  Daughters  of  Men," 
"The  Stepsister,"  and  "The  Third 
Degree."  In  the  last  she  was  es- 
pecially effective  as  the  senior  Mrs. 
Jeffries,  and  contributed  her  share 
to  its  excellent  performance. 


*>  Mrs   LESLIE 


*f  RS.  CARTER'S  ca- 
reer is  quite  unique 
,  in  stage  annals.  Dur- 
ing the  eighteen  years 
of  her  stellar  life  in 
the  theatre,  from  the 
time  she  made  her  first  New  York 
appearance,  in  1890,  until  she 
made  her  first  independent  produc- 
tion in  1908,  she  played  only  six 
parts.  During  the  latter  portion  of 
this  period  she  was  much  admired 
in  America  as  an  actress  of  hys- 
terically emotional-  roles,  and  her 
fame  was  widely  established.  Her 
position  was  indeed  such  as  no  one 
before  her  has  achieved  and  main- 
tained without  a  much  more  ex- 
tensive demonstration  of  versatility. 
She  was  born  Caroline  Louise 
Dudley,  and  her  parents  were  Ken- 
tuckians.  Early  in  life  she  married 
Leslie  Carter  of  Chicago.  After 
eight  years  he  secured  a  divorce, 
but  she  retained  her  former  hus- 
band's name.  Her  early  efforts 
were  obscure  and  without  signifi- 
cance except  to  David  Belasco,  who, 
in  1887,  took  her  under  his  tute- 
lage. Three  years  of  obscurity 
followed,  and  in  1890  he  announced 
her  immediately  as  a  star.  On 
November  10  of  that  year  she  ap- 
peared as  Kate  Graydon  in  Paul 
Potter's  drama,  ''The  Ugly  Duck- 
ling." Another  year  of  obscurity 
followed  this  failure. 

The  next  time  Mrs.  Carter  ap- 
peared it  was  in  a  musical  play 
from  the  French,  "Miss  Helyett," 
and,  though  only  indifferently  ef- 
fective, she  was  kept  on  tour  for 
two  years.  After  two  additional 
years  of  eclipse  she  once  more 
emerged  into  public  view,  still  a 
Belasco  protege,  and  was  seen  as 
Maryland  Calvert  in  Mr.  Belasco's 
"The  Heart  of  Maryland."  The 
principal  scene  was  founded  on 
the  main  incident  in  the  poem 
"Curfew  Shall  Not  Ring  To- 
night," and  Mrs.  Carter,  as  the 
heroine,  who  was  supposed  to 
swing  out  of  the  belfry  on  the 
bell's  clapper,  at  last  drew  crowded 
houses. 

Zaza  was  her  next  effort.  She 
acted  it  first  in  1898,  and  in  this 
role  she  gave  definite  evidence  of  a 
gifted  and  polished  technique  in 
emotional  acting.  On  this  note  she 
has  based  her  succeeding  efforts, 
which  have  numbered  Belasco's 
own  "Du  Barry"  in  1901 ;  John 
Luther  Long's  "Adrea"  in  1905, 
after  which  she  and  Belasco  parted 
company ;  and  since,  under  her 
own  auspices,  in  Mr.  Long's 
"Kassa"  and  "Vashti  Herne,"  and 
in  an  occasional  performance  of 
Camille. 


Mrs  LESLIE   CAKTEPv 


AT  WEBER  AND  FIELDS'S 


IN  "THE  MUSIC  MASTER" 


MR.   DAVID    WARFIELD 


most  popular  ac- 
tor  on  the   stage   to- 
,  day    is    David    War- 
field.      He  has   acted 
only  three  parts  as  a 
and    in    each   of 


these  the  dramatist  has  charged  his 
character  with  all  possible  sym- 
pathy, but  in  every  instance  he  has 
created  and  embellished  with  a  con- 
summate art  which  stamps  him  as  a 
generic  creator  of  the  first  rank. 

He  earned  his  first  money  in  the 
theatre,  but  as  an  usher,  at  the 
Bush  Street  Theatre,  in  his  native 
city  of  San  Francisco.  His  debut 
on  the  stage  was  made  as  Melter 
Moss,  the  Jew,  in  "A  Ticket  of 
Leave  Man,"  at  Napa,  California. 
After  one  week  he  resumed  usher- 
ing. His  gifts  as  a  mimic  devel- 
oped early  and  he  grew  into  favor 
with  clubs  and  lodges,  to  which  he 
gave  his  services  gratis.  Finally  he 
decided  to  try  his  fortunes  in  New 
York.  With  the  assistance  of  some 
friends  he  got  up  a  benefit  for  him- 
self at  Dashaway  Hall,  and  the  one 
hundred  dollars  that  came  in  paid 
his  way  across  the  continent. 

His  first  opportunity  in  New 
York  was  in  an  Eighth  Avenue 
concert  hall  at  fifteen  dollars  a 
week,  and  his  specialty  was  the  be- 
ginning of  that  Yiddish  character 
which  afterwards  made  him  cele- 
brated. Short  experiences  on  tour 
followed,  as  a  jay  in  "The  Inspec- 
tor," an  Irishwoman  in  "O'Dowd's 
Neighbors,"  the  Jew  in  "The  City 


IN  "THE  AUCTIONEER" 

Directory,"  and  as  the  country  boy 
in  "The  Nutmeg  Match." 

His  versatility  began  to  tell  and 
he  became  a  member  of  the  Casino 
company  in  1894,  and  since  then 
his  career  has  been  carefully 
watched.  At  the  Casino  he  was 
one  of  the  principal  comedians  for 
five  years  and  there  gave  his  first 
matured  sketch  of  Simon  Levi.  In 
1899  he  joined  \Veber  and  Fields's 
company  at  their  music  hall,  and 
his  impersonations  and  burlesques 
while  there  were  among  the  finest 
conceivable  fun  of  their  kind. 

His  Simon  Levi,  the  Yiddish 
Eastsider,  had  grown  into  a  charac- 
terization of  national  reputation  and 
it  was  placed  in  a  play  called  "The 
Auctioneer,"  by  Charles  Klein  and 
Lee  Arthur,  which  David  Belasco 
presented  at  the  Bijou  Theatre,  in 
September,  1901,  with  Mr.  War- 
field  as  a  star.  The  quaint  genre 
study  grew  in  finesse  by  its  trans- 
position from  the  burlesque  to  the 
dramatic  stage. 

In  1904  Mr.  Warfield  astonished 
his  admirers  by  a  creation  on  a 
higher  plane,  and  as  different  from 
the  peddler  as  it  were  possible  to 
conceive,  his  Anton  von  Earwig  in 
Charles  Klein's  "The  Music  Mas- 
ter." This  performance  accented 
his  versatility  and  confirmed  his 
title  to  the  vast  popularity  he  had 
won.  He  appeared  as  Wes  Bige- 
low,  the  Hoosier  stage  driver,  in  "A 
Grand  Army  Man,"  by  the  Misses 
Phelps  and  Short,  in  October,  1907. 


IN  "A  GRAND  ARMY  MAN' 


JTTrE 


RAH     BERN- 

'HARDT'S  persuasion 
.  induced  Julie  Opp  to 
become  an  actress 
„  after  George  Du 
^Maurier's  had  failed. 
Miss  Opp  is  a  New  York  girl  and 
she  received  her  schooling  in  a 
convent  in  her  native  city.  In  1895 
she  was  visiting  in  London  with  a 
party  of  school  girls,  under  the ' 
chaperonage  of  Kate  Jordan,  at 
the  time  that  "Trilby"  was  the 
dramatic  vogue,  and  one  day  at  a 
girls'  party  she  met  George  Du 
Maurier.  He  assured  her  she 
would  make  an  ideal  Trilby.  The 
suggestion  was  not  acted  upon,  but 
it  bore  fruit. 

When  she  returned  home  Bern- 
hardt  was  playing  "Izeyll"  at  the 
Garden  Theatre.  Chartran  also 
was  in  this  country  painting  the 
portraits  of  celebrated  people.  Miss 
Opp  met  him  and  he  presented  her 
to  the  great  French  actress.  The 
introduction  took  place  at  a  re- 
hearsal and  the  impulsive  French- 
woman at  once  stopped  her  actors 
to  hear  the  American  girl  recite. 
"You  have  the  youth  and  beauty  of 
a  Greek  statue  come  to  life,"  she 
said,  and  advised  her  to  take  up 
the  career  of  the  stage,  but  to  begin 
in  Europe.  Miss  Opp  had  already 
made  an  appreciable  beginning  as 


IN 
"A  ROYAL  RIVAL" 


a  writer  for  the  magazines,  but 
soon  she  abandoned  that  work  and 
went  to  London.  Her  first  appear- 
ance on  the  stage  was  made  in  that 
city  at  the  Comedy  Theatre  and, 
curiously,  in  Bernhardt's  company. 
{The  play  was  "Camille."  Miss 
Opp  was  an  extra  woman  in  the 
ball-room  scene.  Bernhardt  gen- 
erously had  a  few  lines  written  in 
ifor  her  which  she'  was  too  fright- 
ened, however,  to  speak. 

She  acted  with  George  Alexan- 
der and  Julia  Neilson,  and  less  than 
'two  years  after  her  debut  she  made 
such  a  success  as  Mrs.  Ware  in 
"The  Princess  and  the  Butterfly"  j 
that  she  was  brought  across  the 
ocean  to  play  that  role  when  the 
iplay  was  acted  in  New  York.  She 
went  again  to  the  St.  James  The- 
atre, London,  in  1900,  and  was 
the  originator  of  leading  parts 
there  for  more  than  a  year.  She 
came  home  to  create  roles  in  "A 
Royal  Rival"  and  "Prince  Char- 
lie" ;  returned  to  London  to  play 
Katherine  in  "If  I  Were  King,'' 
and  since  then  she  has  acted  the 
leading  woman  roles,  continuously 
in  support  of  her  husband,  Wil- 
liam Faversham,  achieving  distinc- 
tion by  her  plastic  grace  and  force- 
ful eloquence  as  Queen  Mariamne 
in  Stephen  Phillips's  "Herod." 
Miss  Opp  has  written  much. 


MISS    fULIE   OPP 


E 


*fLSIE  JANIS  is  a 
winsome  young  star 
,  who  has  brought  the 
freshness  and  charm 
of  natural  girlhood 
'into  the  artificial  sou- 
brettedom  of  musical  comedy.  To 
a  frank  and  ingratiating  personality 
which  at  once  establishes  a  bond 
of  sympathy  between  herself  and 
her  audience,  she  adds  a  really  re- 
markable gift  for  the  mimicry  of 
other  actresses  and  actors. 

Miss  Janis  exhibited  her  talents 
when  a  mere  child  in  her  native 
town  of  Columbus,  Ohio,  and  was 
a  great  favorite  with  the  Rev. 
Washington  Gladden,  pastor  of  her 
parents'  church,  and  with  William 


McKinley  when  he  was  Governor 
of  the  State.  While  Mr.  McKinley 
was  President,  and  she  was  with  her 
parents  in  Washington,  he  invited 
her,  then  in  her  eleventh  year,  to 
entertain  a  large  company  of 
United  States  officials  and  Foreign 
representatives  at  the  White  House. 
Her  success  on  this  occasion  was 
the  subject  of  wide  newspaper  pub- 
licity and  attracted  New  York  the- 
atrical managers  to  her.  No  one 
came  forward,  however,  with  a  part 
for  the  little  girl  in  a  production, 
and  she  went  into  vaudeville,  where 
her  songs  and  imitations  quickly 
advanced  her  to  a  position  among 
the  leading  favorites.  When  only 
fourteen  years  old  Miss  Janis  be- 


N 


came  a  star  in  musical  comedy  and 
went  on  tour  in  revivals  of  "The 
Belle  of  New  York,"  "The  Fortune 
Teller,"  and  "The  Little  Duchess." 
New  York  had  seen  her  before 
1905,  but  as  is  often  the  case  with 
metropolitan  audiences,  they  look 
without  seeing,  and  during  that 
summer  her  imitations  given  at  the 
New  York  Theatre  Roof  Garden 
were  the  most  talked  of  entertain- 
ments of  the  town.  A  stellar  ap- 
pearance on  Broadway  in  a  musical 
comedy  was  at  once  arranged  and 
her  girlish  personality  and  new  imi- 
tations were  a  genuine  success  for 
"The  Vanderbilt  Cup."  In  1907 
she  appeared  in  "The  Hoyden"  and 
in  1909  in  "The  Fair  Co-Ed." 


IN  "THE  HOYDEN" 


MISS  ELSIE  JANIS 


IN 
THE 

VANDERBILT  CUP" 
Photograph  by  H«U 


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m\m\m\m\m\m\m\m\m\m\m\m\mm\m\m\m\m\m\m  m  Mm\m\m 


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SHERLOCK  HOLMES 


s$l  L  L  I  A  M     G  I  L  - 
'LETTE  has,  a  little 
,  unconsciously     p  e  r  - 
haps,  given   the  note 
L  of  leisure  to  his  ca- 
because   he  has 


presented  himself  to  the  public  only 
at  intervals  and  because  a  cool  self- 
possession  and  unhurried  delibera- 
tion have  distinguished  most  of  his 
roles.  His  characters  may  have  re- 
flected the  man  in  a  measure,  but 
the  catalogue  of  his  achievements 
as  actor  and  playwright  denotes  an 
active  life. 

Mr.  Gillette  was  born  in  Hart- 
ford, Connecticut,  in  1856.  The 
stage  attracted  him  from  boyhood. 
When  twenty  years  old  he  decided 
to  adopt  the  theatre  as  a  career 
and  secured  the  position  of  utility 
man  with  the  Ben  de  Bar  stock 
company  in  New  Orleans.  His 
salary  was  nothing  a  week  and  a 
suggestion  that  it  be  raised  resulted 
in  his  discharge.  Mark  Twain,  who 
was  a  neighbor  of  his  family,  in 
Hartford,  secured  him  a  position 
at  the  Boston  Theatre  and  he  acted 
there  and  at  the  Boston  Museum 
for  two  years.  His  New  York 
debut  was  made  as  the  Prosecuting 
Attorney  in  ''The  Gilded  Cage,"  in 
support  of  John  T.  Raymond  at 
the  New  Park  Theatre,  April  29. 
1877.  Experience  in  Cincinnati 
and  St.  Louis  stock  companies  fol- 
lowed. 

Already  he  had  begun  to  write 
plays  and  when  he  returned  from 
the  West  to  New  York  it  was  to 
act  the  title  role  in  his  comedy, 
"The  Professor."  The  play  enjoyed 
a  run  of  nearly  a  year  at  the  Madi- 


e>lr 

W    I    L  L    I    A     M 
GILLETTE 


SHERLOCK  HOLMES 


son  Square  Theatre.  His  next  new 
role  was  Douglas  Winthrop  in 
Bronson  Howard's  "Young  Mrs. 
Winthrop,"  in  which  he  made  a 
long  tour,  but  meantime  he  assisted 
Mis.  Burnett  with  "Esmeralda," 
and  made  an  adaptation  from  the 
German  which  was  later  merged 
with  the  English  adaptation  from 
the  same  source  and  achieved  a 
large  popularity  as  "The  Private 
Secretary."  He  acted  the  Secre- 
tary for  two  years.  His  subsequent 
plays  were  "Held  By  the  Enemy," 
"A  Legal  Wreck,"  "All  the  Com- 
forts of  Home"  from  the  Ger- 
man, "Mr.  Wilkinson's  Widows," 
a  dramatization  of  Rider  Hag- 
gard's "She,"  "Ninety  Days,"  "Be- 
cause She  Loved  Him  So"  and 
"Settled  Out  of  Court"  from  the 
French ;  and  "Too  Much  Johnson." 
He  acted  Bean,  the  war  correspond- 
ent, in  the  first  of  these  and  Bill- 

r^~l     I      ings  in  the  last. 

I  I  His  greatest  success  was  attained 

with  his  "Secret  Service,"  in  which 
he  acted  Lewis  Dumont,  first  at  the 
Broad  Street  Theatre,  Philadelphia, 
May  15,  1895.  His  later  appear- 
ances have  been  as  the  celebrated 
detective  in  his  adaptation  of  Conan 
Doyle's  "Sherlock  Holmes,"  Mr. 
Crichton  in  Barrie's  "The  Admira- 
ble Crichton,"  and  Dr.  Carrington 
in  his  own  "Clarice."  Mr.  Gillette 
wrote  a  second  play  in  which  the 
much  admired  Sherlock  Holmes 
appeared.  It  was  in  one  act  and  was 
called  "The  Painful  Predicament 
of  Sherlock  Holmes."  He  and 
Miss  Ethel  Barrymore  acted  it  in 
1905  at  a  benefit  in  the  Metropolitan 

ADMIRABLE  Opera  House. 

CRICHTON  " 


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WILLIAM 


GILLETTE 


11 


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•*5*" 


HELD    has 
'  been  a  prominent  fig- 
ure on  the  American 
stage    as    a     singing 
:  comedienne  ever  since 
first  appearance  at 


lfe« 


the  Herald  Square  Theatre  in  Sep- 
tember, 1896,  when  she  sang  "Oh 
Won't  You  Come  and  Play  Wiz 
Me"  in  a  revival  of  "A  Parlor 
Match."  Her  manager-husband  has 
since  identified  her  in  songs,  cos- 
tumes and  type  of  humor  with  what 
is  supposed  to  be  most  character- 
istically Parisian. 

In  spite  of  a  German  name  Anna 
Held  is  the  daughter  of  a  Parisian 
father  and  a  Parisian  mother,  and 
was  born  in  Paris  and  lived  there 
until  she  was  twelve  years  old.  Her 
account  of  her  youth  is  sincerely 
pathetic.  Her  father  was  a  manu- 
facturer of  gloves  in  a  small  way. 
Business  vanished  and  he  opened  a 
restaurant.  This,  too,  failed,  and 
the  girl  spent  part  of  her  days  in 
school  and  the  rest  earning  a  few 
sous  curling  plumes  at  first,  then 
making  button-holes,  and  finally 
sewing  bits  of  fur  together  for 
caps.  When  she  reached  her  twelfth 
year  her  father  died.  Her  mother 
took  her  to  London  in  search  of 
relatives  whom  she  did  not  find. 
They  had  a  room  next  the  Princess 
Theatre,  and  one  day  on  the  street 


her  pretty  face  attracted  the  mana- 
ger's attention  and  he  gave  her  a 
place  in  the  chorus.     Ten  months          L\\^J  I 
after    they    reached    London    her      lAV/ISS 
mother  died.  /    \  r-x. 

Soon   she  was   singing  chanson-      / \  M  JM  A 
ettes  in  French,  German,  Polish  and  » 

Spanish  in  the  music  halls  of  Hol- 
land, Sweden  and  Germany.  At 
sixteen  she  reached  Paris  and  sang 
at  La  Scala  and  El  Dorado ;  thence 
she  went  to  the  Palace  Music  Hall, 
London,  where  she  made  a  hit  with 
the  song  which  first  made  her  popu- 
lar in  America,  a  translation  from 
a  German  song,  Die  Kleine 
Schrecke  (The  Little  Teazer). 
Florence  Zeigfield  was  in  the  au- 
dience one  evening  and  engaged 
her  to  come  to  America. 

The  rest  is  better  known,  for  Miss 
Held  has  passed  from  one  success  to 
another  as  the  last  fourteen  years 
have  slipped  by.  Her  performance 
in  "The  Parlor  Match"  was  fol- 
lowed by  her  appearance  as  a  star 
in  "La  Poupee,"  "The  Little  Duch- 
ess," and  "Mile.  Napoleon."  She 
spent  the  winter  of  1904  with 
Weber  and  Fields  at  their  Broad- 
way Music  Hall,  and  was  absent 
from  the  stage  throughout  the  year 
following.  Since  she  has  returned 
to  the  stage  her  pieces  have  been 
"A  Parisian  Model"  and  "Miss  In- 
nocence." 


I  S   S     ANNA 


Jf 


1':..  |  j    i,..-  -    :•;,    H.t 


OBERT  MANTELL 
shares  with  E.  H. 
Sothern  and  Louis 
James  the  distinction 
of  a  place  in  the  front 
of  those  Ameri- 


£,  ,= 

can  players  of  to-day  who  devote 
themselves  almost  exclusively  to 
the  plays  of  Shakespeare.  Mr. 
Mantell  is  Scotch  by  birth  and  par- 
entage. The  stage  called  him  early 
in  life  and  when  his  parents  refused 
to  hear  of  his  becoming  an  actor  he 
ran  away  from  home  before  he  was 
twenty  and  crossed  the  Atlantic  to 
America.  But  he  found  no  en- 
couragement and  after  two  weeks 
returned  to  England,  where  he  made 
his  first  appearance  at  Rockdale, 
Lancashire,  in  1876,  under  the 
name  of  R.  Hudson.  George 
Clarke,  afterwards  a  leading  player 
at  Daly's,  New  York,  was  starring 
through  England  at  that  time  in 
"The  Shaughraun"  and  the  young 
actor's  second  appearance  was 
made  with  Mr.  Clarke  as  Father 
Nolan  in  this  play.  Samuel  Phelps 


found  him  in  a  provincial  stock 
company  shortly  after  this  and  took 
him  to  Sadler's  Wells  Theatre. 
London,  where  he  had  a  valuable 
Shakespearian  experience.  After 
a  brief  tour  in  support  of  Marie  de 
Grey  in  Shakespearian  parts  he  made 
his  second  trip  to  America  in  1878. 

On  his  return  Mr.  Mantell  acted 
first  in  Helena  Modjeska's  company, 
but  his  stay  was  brief.  After  only 
a  single  season  he  returned  to  Eng- 
land to  appear  with  George  S. 
Knight  in  "Otto"  and  subsequently 
he  supported  Miss  Wallis  there  in 
an  extended  standard  repertoire. 

His  first  appearance  in  New 
York  was  made  at  the  Windsor 
Theatre  in  "The  World"  in  1882, 
and  his  second  and  more  successful 
appeal  for  popularity  was  his  Jack 
Herne  in  "The  Romany  Rye"  at 
Booth's.  The  next  year  brought 
the  production  of  "Fedora,"  by 
Fanny  Davenport,  and  Mantell  as 
Loris  Ipanoff  achieved  a  triumph 
which  echoed  for  many  years.  In 
1884  he  created  the  leading  part  in 


"Called  Back''  at  the  Fifth  Avenue, 
and  in  "Dakolar"  at  the  Lyceum. 

His  finely  developed  ability  and 
the  popularity  he  achieved  in  all 
these  roles  led  to  his  debut  as  a  star 
at  the  Fifth  Avenue  in  1886  in 
"Tangled  Lives."  This  was  com- 
pletely overshadowed  by  "Moii- 
bars"  in  which  he  next  achieved  a 
success  equal  to  that  of  his  Ipanoff 
in  "Fedora."  Mr.  Mantell  worked 
through  long  tours  in  various  new 
and  old  plays  and  gradually  built 
up  a  repertoire  of  classic  and 
Shakespearian  roles.  Since  1890 
he  has  played  "The  Corsican  Broth- 
ers," "The  Marble  Heart,"  "The 
Louisianian,"  "The  Face  in  the 
Moonlight."  "Parrhasius,"  "A  Cav- 
alier of  France."  "The  Dagger  and 
the  Cross,"  "The  Veiled  Picture." 
both  Othello  and  lago  in  "Othello," 
Claude  Melnotte  in  "The  Lady  of 
Lyons,"  "Richard  III,"  "Romeo 
and  Juliet."  "King  Lear,"  "Mac- 
beth," "The  Merchant  of  Venice," 
"Tulius  Caesar."  "Richelieu"  and 
"King  John." 


MR     ROBERT    M  ANT  ELL 


Fhotngnpla  by  H»l! 


D 


JOE 
IN 

'  HER  GREAT  MATCH 
Photo  by  Hall 


MAXINE 
ELLIOTT 


=»^RARE,  deep,  warm 
beauty,  and  a  light 

,  and  gracious  charm 
are  the  twin  delights 
of  Maxine  Elliott. 

"The  roles  in  which 
the  emotions  lie  not  too  far  from 
the  surface,  and  femininity  and  a 
patrician  elegance  may  be  held  as 
the  distinguishing  characteristics, 
disclose  her  to  the  best  advantage. 
She  has  recognized  this  with  tact, 
and  has  held  deserved  popularity 
with  a  large  public.  Miss  Elliott 
was  born  February  5,  1871,  in 
Rockland,  Maine,  but  her  father, 
Thomas  Dermot,  was  a  sea  captain 
and  his  home  port  was  Oakland, 
California.  She  was  well  prepared 
for  the  roving  life  of  the  actor,  for 
the  greater  part  of  her  childhood 
was  spent  at  sea  on  her  father's 
sailing  vessel.  A  child  at  sea,  with 
the  occasional  visits  in  varied  ports, 
can  learn  much,  to  be  sure,  but  the 
aspirations  which  animated  this 
beautiful,  temperamental  girl  de- 
manded another  kind  of  education, 
and  she  was  placed  in  Notre  Dame 
Academy,  Roxbury,  Massachusetts. 
The  roving  spirit  slipped  anchor 
after  a  year,  however,  and  she  made 
her  debut  as  an  actress  in  Palmer's 
Theatre  in  November,  1890,  as  Fe- 
licia Umfraville  in  "The  Middle- 
man," in  support  of  E.  S.  Willard, 
on  the  night  of  this  actor's  Amer- 
ican debut.  She  graced  all  his 
plays  that  season,  and  for  sev- 
eral years  created  parts  in  New 
York  productions  and  in  Rose 
Coghlan's  repertoire.  Her  beauty 
and  talent  caught  the  attention  of 
Augustin  Daly,  and  she  next  be- 
came a  leading  member  of  his  stock 


company  and  played  leading  roles 
in  "The  Heart  of  Ruby,"  "The 
Orient  Express,"  "A  Bundle  of 
Lies,"  "A  Tragedy  Rehearsal," 
"Nancy  &  Co.,"  and  "The  Transit 
of  Leo,"  in  addition  to  Silvia  in 
"The  Two  Gentlemen  of  Verona," 
Hermia  in  "A  Midsummer-Night's 
Dream."  and  Olivia  in  "Twelfth 
Night."  She  created  Eleanor  Cuth- 
bert  in  "A  House  of  Cards"  at  the 
Fifth  Avenue  in  1905,  and  the  next 
year  became  Nat  Goodwin's  lead- 
ing woman  for  his  Australian  tour, 
and  shortly  afterwards  his  wife. 
With  Mr.  Goodwin  she  created 
leading  roles  in  "An  American 
Citizen,"  "Nathan  Hale,"  "The 
Cowboy  and  the  Lady,"  and  "When 
We  Were  Twenty-one,"  and  played 
Portia  a  few  times. 

The  position  at  the  head  of  her 
company,  inevitable  for  one  of  so 
many  personal  attractions,  came  in 
1903.  Clyde  Fitch  wrote  "Her  Own 
Way"  for  her  stellar  debut.  This 
same  prolific  writer  furnished  her 
the  attractive  role  of  Joe  in  "Her 
Great  Match,"  which  was  next  pro- 
duced, and  she  has  since  acted  in 
London  and  in  America  in  "Under 
the  Greenwood  Tree,"  "The  Chap- 
eron," and  a  short  Japanese  play, 
"Sayonara." 

In  1908  she  opened  the  Maxine 
Elliott  Theatre  in  New  York  City, 
adding  another  to  the  few  instances 
we  have  of  theatres  named  for  liv- 
ing actresses.  Laura  Keene  had  her 
own  theatre  bearing  her  own  name, 
and,  like  Maxine  Elliott,  acted  in 
it.  Louisville,  the  home  of  Mary 
Anderson,  has  a  theatre  named 
after  this  gracious  lady,  but  it  was 
not  erected  until  she  had  retired. 


PORTIA 
Copyright  1»01  by  Burr  Mclnlmh 


D 


D 


oM  i  5  s 
MAXINE  ELLIOTT 


IN  "IF  I  WERE  KING' 


"THE  SERIO-CU.MIC  GOVERNESS  ' 


-CECILIA  LOFTUS 
'first  made  herself 
,  known  to  American 
amusement  seekers  as 
•an  exceptionally  able 
xr'  '  "^"mimic.  In  those  days 
she  was  "Cissie"  Loftus.  The 
vaudeville  stage  claimed  her  all  for 
its  own.  Her  vogue  was  remark- 
able, and  her  imitations  of  Bern- 
hardt,  May  Irwin,  and  other  as 
markedly  contrasted  stage  celeb- 
rities were  considered  as  faithful  as 
it  was  possible  to  make  them. 

Miss  Loftus  is  the  daughter  of 
Marie  Loftus,  one  of  England's 
most  popular  music  hall  singers. 
She  was  born  in  Glasgow  in  1876, 
and  when  only  fifteen  she  was 
taken  from  school  and  gave  imita- 
tions and  sang  original  songs  at  the 
head  of  the  bill  at  the  Oxford  Mu- 
sic Hall,  London.  She  played  her 
first  part,  Haidee,  in  one  of  the 
Gaiety  Theatre's  musical  comedies, 


CECILIA     LOFTUS 

in  October,  1893.  In  1894  she 
came  to  America  and  at  once 
achieved  an  enormous  success  as  a 
mimic.  When  she  returned  to 
England  she  spent  four  years  in  the 
music  halls,  except  for  a  single  en- 
gagement as  the  Goose  Girl  with 
Martin  Harvey  in  "The  Children  of 
the  King,"  at  the  Court  Theatre. 

She  had,  however,  determined  to 
make  a  place  for  herself  among  the 
actresses  of  her  time.  To  this  end 
she  returned  to  America  and  en- 
gaged herself  to  support  Madame 
Modjeska,  and  as  a  member  of  her 
company  appeared  at  the  Fifth 
Avenue  Theatre  during  March, 
1900,  as  Leonie  in  "The  Ladies' 
Battle,"  Viola  in  "Twelfth  Night," 
and  Hero  in  "Much  Ado  About 
Nothing."  These  performances 
established  her  as  an  actress,  and 
she  played  conspicuous  roles  in  "A 
Man  of  Forty"  and  "Lady  Hunts- 
worth's  Experiment,"  at  Daly's ; 


IN  "RICHARD  LOVELACE" 


Lady  Mildred  in  "The  Slaves  of 
Night,"  at  the  Broadway;  and,  as 
leading  woman  for  E.  H.  Sothern, 
Lucy  Sacheverell  in  "Richard 
Lovelace,"  Katherine  in  "If  I  Were 
King,''  and,  later,  Ophelia  in 
"Hamlet"  and  Perpetua  in  "The 
Proud  Prince."  She  acted  Mar- 
guerite in  "Faust,"and  both  Nerissa 
and  Jessica  in  "The  Merchant  of 
Venice"  with  Henry  Irving  at  the 
Lyceum  Theatre,  London,  in  1902. 
Daniel  Frohman  advanced  Miss 
Loftus  as  a  star  at  the  New  Lyceum 
Theatre  in  September,  1904,  when 
she  played  Eileen  O'Keefe  in  Zang- 
will's  comedy,  "The  Serio-Comic 
Governess."  She  was  the  "Peter 
Pan"  of  Barrie's  play  during  its 
Christmas  revival  in  London  in 
1905.  Since  that  time  Miss  Loftus 
has  devoted  her  public  appearances 
to  vaudeville  again,  except  for  an 
engagement  in  the  Weber  Theatre 
company  in  "Dream  City." 


MI5J   CECILIA    LOFTUS 

Copyright,  Dover  Street  Studios 


MR..  HENK.Y    E.    D1XEY 


x 
onl 


some    actors    it   is 
'  given  to  make  such  an 
.  overwhelming    hit    at 
one  point  in  their  ca- 
'  reers    that    the)'    are 
"able   to   live   it  down 
after   long     and      persistent 


demonstrations  of  their  versatility. 
Henry  E.  Dixey  made  such  a  hit  in 
a  burlesque  called  "Adonis."  It 
was  produced  first  at  the  Bijou 
Theatre  September  4,  1884,  and  it 
had  a  record  run  of  603  nights  at 
this  theatre  and  many  months  in 
London.  He  played  it  for  nearly 
five  consecutive  years.  He  became 
less  well  known  to  the  public  by  his 
own  name  than  as  "Adonis  Dixey." 
This  role  became  not  only  the 
measure  but  the  pattern  of  what  I 
managers  and  audiences  expected 
of  him  as  long  as  they  remembered 
it.  Yet  it  was  no  gauge  of  Dixey  's 
ability  as  an  actor,  as  he  has  proved  'd 
many  times  since  in  pieces  which  '  . 
failed  of  the  wonderful  success  at- 
tained by  "Adonis."  One  of  its 
well  remembered  features  was  his  E 
imitation  of  Henry  Irving,  then 
making  his  earliest  visit  to  America. 

Mr.  Dixey  made  his  first  appear-  I 
ance  on  the  stage  at  the  Howard    \ 
Athenaeum  in   Boston,   the   city   in 
which  he  was  born,  in  1859.     He    ; 
was  but  nine  years  old  at  the  time 
and  he  acted  Peanuts  in  Augustin 
Daly's  play  "Under  the  Gaslight." 
He  was  in  Rice's  celebrated  com- 
pany which,  in  1875,  first  presented  >. 
"Evangeline,"  playing  the  forelegs 
of   the  celebrated  heifer  of  which 
Richard  Golden  was  the  hind  legs. 
Before  he  left  the  company  he  had 
acted  nearly  every  male  part. 

For    several    years    he    was    the 
favorite  comedian  in  the  American 
productions  of  the  Gilbert  and  Sul- 
livan and  other  light  operas,  giving 
always  a  grace,  delicacy,  and  humor 
to    his    performances    which    audi-    : 
ences    delighted    in    and    have    not 
been   treated   to   since.     After  the 
Adonis  interval  his  conspicuous  ap- 
pearances   were    in    "The     Seven  I 
Ages,"  "The  Solicitor,"  "The  Man  I 
of  a  Hundred  Heads,"  Bunthorne  I 
in  "Patience,"  "The  Sorcerer,"  and  £ 
during  two  seasons  in  leading  light 
comedy    parts    at    Daly's    Theatre. 
From  1896  to  1905  he  played  some- 
times in  musical  pieces  and  some-  j 
times  in  vaudeville,  but  in  the  latter  I 
year  he  obtained  substantial  favor  I 
as  Lieutenant  Robert  Warburton  as 
a  star  in  "The  Man  on  the  Box," 
and  during  the  winter  of  1908  he  ap-  | 
peared  as  Pa  in  "Mary  Jane's  Pa." 


IN  "MISTRESS  NELL 
Copyright  by  A.  Dupont 


HENRIETTA  CKOSMAN 


i! 


HENRIETTA  CROS- 

MAN'S  father  was  a 
,  United  States  army 

officer  and  she  was 
.born  at  the  Army 
*"°®post  near  Wheeling, 
W.  Va.  Her  mother  was  a  Miss 
Wick  of  Northern  Ohio  and  a  niece 
of  Stephen  C.  Foster,  who  wrote 
"My  Old  Kentucky  Home."  Her 
childhood  was  spent  wherever  her 
father's  stations  took  the  '  family, 
from  Dakota  and  Montana  to  Texas. 
Rebuff,  grit,  perseverance,  and 
good  cheer  have  won  Miss  Cros- 
man  her  present  position.  Her 
parents'  fortunes  made  self-support 
obvious  and  she  went  to  Paris  to 
study  for  grand  opera.  Illness  cut 
that  career.  Returning  home,  she 
went  on  the  stage,  and  her  first  part 
was  Letty  Lee  in  "The  White 
Slave."  After  an  itinerant  interval 


as  Parthenia  and  Virginia  in  sup- 
port of  Robert  Downing,  she  came 
to  New  York  and  was  soon  a  popu- 
lar member  of  the  Lyceum  com- 
pany. At  this  time  she  created 
roles  in  the  original  casts  of  "The 
Idler,"  "Mr.  Wilkinson's  Widows," 
and  "The  Junior  Partner." 

Her  first  real  taste  of  individual 
success  came,  however,  in  1892 
when  she  created  the  title  part  in 
"Gloriana,"  at  Hermann's  (later  the 
Princess)  Theatre.  Her  perform- 
ance was  the  talk  of  the  town,  but, 
after  three  days,  illness  once  more 
overtook  her  and  she  did  not  play 
again  that  season. 

A  fresh  start  was  made  the  next 
year,  and  she  acted  all  kinds  of 
parts  in  stock  companies  in  the  far 
West  and,  under  Augustin  Daly  and 
both  Frohmans,  in  New  York  be- 
fore she  again  made  a  really  re- 


sounding hit.  This  was  at  the 
Bijou  Theatre  in  October,  1900,  as 
Nell  Gwynne  in  George  Hazleton's 
"Mistress  Nell." 

Since  that  time  Miss  Crosman 
has  been  a  conspicuous  star  devot- 
ing herself  to  high  comedy  in  mod- 
ern, romantic  and  Shakespearian 
roles.  High  spirits,  sprightly  hu- 
mor and  unflagging  vivacity  usually 
distinguish  her  acting.  She  has 
played  Joan  in  "Joan  of  the 
Shoals,"  Rosalind  in  "As  You  Like 
It,"  Philippa  in  "The  Sword  of  the 
King,"  Mistress  Kitty  in  "Sweet 
Kitty  Bellairs,"  "Nance  Oldfield," 
"Madelaine,"  "Mary,  Mary,  Quite 
Contrary,"  Peggy  O'Mara'in  "All- 
of-a-Sudden  Peggy,"  Christian  in 
"The  Christian  Pilgrim,"  which 
was  a  dramatization  of  Bunyan's 
"Pilgrim's  Progress,"  and  Cathe- 
rine in  "Sham." 


HENRIETTA 
CR.OSMAN 


o 


o 


o    ^  o 


o 


o 


o 


MISS      LULU      GLASLR 


O 


o 


o 


o 


o 


o 


o 


IN  "THE 
MADCAP  PRINCESS" 


-if  U  LU  GLASER 
skipped  all  the  ro- 
,mantic  hardships 
which  lead  from  ob- 
•scurity  to  promi- 
^nence.  She  simply 
came  and  saw  and  conquered.  Born 
in  Allegheny  City,  Pennsylvania, 
on  June  2,  1872,  she  studied  in  the 
public  schools,  and  then  decided  to 
improve  her  voice  and  go  on  the 
stage.  Others  have  planned  the 
same  plans,  but  for  Miss  Glaser 
there  was  quick  and  easy  realiza- 
tion. She  took  vocal  lessons  until 
she  felt  that  she  had  a  voice  to  offer 
and  went  straight  to  New  York. 
That  was  in  1891.  Francis  Wilson 
was  then  on  the  crest  of  his  success 
as  a  comic  opera  star,  and  was  ap- 


pearing in  "The  Lion  Tamer''  at 
the  Broadway  Theatre.  Miss 
Glaser  entered  the  chorus.  Her 
pretty  face,  vivacious  manner  and 
marked  personality  attracted  Mr. 
Wilson,  and  he  made  her  under- 
study for  Marie  Jansen.  Miss 
Glaser  got  her  opportunity  as  An- 
gelina, and  she  has  ever  since  been 
a  popular  singing  comedienne. 

She  was  Mr.  Wilson's  chief  as- 
sistant for  nine  seasons  and  shared 
in  all  his  successes.  Her  roles  in- 
cluded Lazuli  in  "The  Merry  Mon- 
arch," Javotte  in  the  first  revival  of 
"Erminie,"  Elverine  in  "The  Devil's 
Deputy,"  Rita  in  "The  Chieftain," 
Pirette  in  "Half  a  King,"  Jacquelin 
in  "The  Little  Corporal,"  and  Rox- 
ane  in  the  musical  version  of  "Cy- 


rano de  Bergerac"  produced  in  the 
autumn  of  1899. 

Her  popularity  had  increased  at 
this  time  to  a  point  where  it  seemed 
practical  to  appear  at  the  head  of 
her  own  company.  Her  debut  as 
a  star  was  made  a  year  later  as 
Anne  in  "Sweet  Anne  Page."  This 
was  followed  by  Angela  in  "The 
Prima  Donna,"  not  the  same  as 
Fritzi  Scheffs;  "Dolly  Varden" ; 
Mary  Tudor  in  a  musical  version  of 
Paul  Kester's  play  "When  Knight- 
hood Was  in  Flower,"  and  entitled, 
"The  Madcap  Princess" ;  Dorothy 
Gay  in  "Miss  Dolly  Dollars"; 
"Lola  of  Berlin" ;  and  "One  of  the 
Boys."  During  1908  she  spent  a 
short  interval  in  Joseph  Weber's 
musical  burlesque  company. 


O 


o 


o 


o 


o 


O 


O 


O 


o 


o 


o 


o 


o 


MISS       _  U  L  U      GLA5I.  It 


O 


„ 

Mi-FHANK  DANIELS 


, 


-fRAXK      DANIELS 
'  took  up  comic  opera 
,  after  a  successful  ca- 
reer in  comedy  with- 
out    music    and    has 
himself  in  a  po- 


sition at  the  front  of  the  column  of 
comedians  who  are  genuinely  and 
continuously  funny.  It  is  not  quite 
fair  to  his  many  other  methods  of 
fun,  but  Mr.  Daniels  has  become 
known  as  the  comedian  with  the 
trick  eyebrows.  They  are  truly 
well  trained  and  docile  eyebrows, 
and  when  they  go  up  they  carry 
shouts  of  laughter  with  them.  But 
he  is  quite  as  funny  with  his  back- 
turned  to  the  audience,  and  to  see 
the  little  comedian  set  his  shoulders 
and  stride  majestically  up  stage 
provokes  as  loud  a  laugh  as  any 
line  a  librettist  ever  gave  him. 

Mr.  Daniels  was  born  in  Dayton, 
Ohio,  in  1860.  His  boyhood  was 
spent  in  Boston  where  his  family 
moved  soon  after  the  opening  of 
the  Civil  War.  There  he  attended 
school,  and  for  three  years  was  em- 
ployed as  a  wood  engraver.  At 
the  same  time  he  studied  singing  at 
the  New  England  Conservatory  of 
Music.  He  went  clown  to  Salem 
for  his  stage  debut  in  1879.  The 
Opera  was  "The  Chimes  of  Nor- 
mandy." His  role  was  the  sheriff. 

Engagements  followed  in  various 
companies  without  particular  suc- 
cess until  he  made  a  hit  in  a  piece 
called  "An  Electric  Doll,"  and  he 
played  with  the  company  present- 
ing this  farce  for  three  years  in 
America  and  England.  His  next 
success  came  in  1884  as  Old 
Sport  in  Hoyt's  "A  Rag  Baby." 
The  country  laughed  at  Old  Sport 
for  three  years.  A  still  bigger  hit 
was  made  next  in  "Little  Puck." 
No  one  whose  memory  of  stage  fa- 
vorites covers  the  seven  years  dur- 
ing which  he  starred  in  "Little 
Puck"  has  forgotten  his  Packing^ 
ton  Giltedge. 

Since  then  the  list  of  comic  operas 
in  which  he  has  starred  includes 
"The  Wizard  of  the  Nile,"  "The 
Idol's  Eye,"  "The  Ameer,"  "Miss 
Simplicity,"  "The  Office  Boy," 
"Sergeant  Brue,"  "The  Tattooed 
Alan,"  "Mr.  Hook  of  Holland," 
and  "The  Belle  of  Brittany."  It  is 
useless  to  recall  the  parts  he  played, 
but  the  fun  has  been  equally  plenti- 
ful in  his  quaint,  individual  way. 


•         D 

O 


(3s 


•      F    K.   A   N  K 
D    A   N   I   E   L  S 


LADY    URSULA 


VIRGINIA  HARNED 

'  has  punctuated  a  long 
,  and  ambitious  career 
before  the  public  with 
:  certain  unmistakable 


"^successes  which  stamp 
her  an  able  and  versatile  actress  as 
well  as  a  popular  star.  The  first  of 
these  were  her  delightful  comedy 
performances  in  support  of  E.  H. 
Sothern  in  the  old  Lyceum  days ; 
her  dramatic  creation  of  Trilby 
O'Ferrall  in  "Trilby" ;  romantic, 
bubbling  Ursula  in  "The  Adventure 
of  Lady  Ursula" ;  and  tearful,  emo- 
tional "Iris."  Many  actresses  have 
maintained  a  conspicuous  position 
on  a  fraction  of  such  varied  excel- 
lence, yet  Miss  Harned  has  added 
to  these  a  long  series  of  other 
ambitious  roles,  the  latter  ones 
showing  the  marked  influence 
of  her  acquaintance  with  Pinero's 
protagonist. 


Miss  Harned  had  been  playing 
on  the  New  York  stage  less  than 
five  months  when  she  joined  Mr. 
Sothern's  company  at  the  Lyceum. 
Born  in  Boston  in  1868,  she  was 
taken  to  England  by  her  parents 
when  a  baby,  and  was  educated 
there.  She  returned  when  sixteen 
and  acted  first  on  tour  with  a 
company  playing  "Our  Boarding 
House,"  later  in  "A  Night  Off" 
and  "A  Still  Alarm,"  and  made  her 
New  York  debut  at  the  Fourteenth 
Street  Theatre  in  "A  Long  Lane." 
March  31,  1890.  In  the  May  fol- 
lowing she  appeared  at  Palmer's 
Theatre  in  "The  Editor";  in  June 
as  Madge  Ravenscroft  in  "Lara" ; 
and  August  26,  as  Clara  Dexter, 
the  leading  woman  role  in  "The 
Maister  of  Woodbarrow"  at  the 
Lyceum.  Mr.  Sothern  was  the  star 
in  this  play,  and  he  and  Miss  Har- 
ned were  married  later  and  often 
acted  together.  Clara  Dexter  was 
followed  by  a  series  of  her  most 
admired  performances :  Drusilla 
Ives  in  "The  Dancing  Girl,"  Fanny 
Hadden  in  "Captain  Lettarblair," 
Mrs.  Sylvester  in  "The  New 
Woman,"  and  in  several  plays 
under  A.  M.  Palmer's  management. 

When  this  celebrated  manager 
produced  Paul  Potter's  dramati- 
zation of  George  Du  Maurier's 
"Trilby"  at  the  Garden  Theatre, 
April  15,  1895,  Miss  Harned  made 
a  great  success  as  the  hypnotized 
heroine.  Except  for  a  brief  inter- 
val in  Sardou's  "Spiritism,"  she 
spent  the  next  five  years  in  E.  H. 
Sothern's  company,  playing  the 
leading-woman  parts  in  "An 
Enemy  to  the  King,"  "  'Change 
Alley,"  "The  Lady  of  Lyons,"  "The 
Adventure  of  Lady  Ursula,"  "A 
Colonial  Girl,"  "The  Song  of  the 
Sword,"  and  "The  King's  Mus- 
keteers" ;  Rautendelein  in  "The 
Sunken  Bell"  and  Ophelia  in 
"Hamlet." 

Since  1901  Miss  Harned  has 
starred  alone.  Her  principal  pro- 
ductions have  been  "Alice  of  Old 
Vincennes,"  a  dramatization  of 
Maurice  Thompson's  novel  by 
Edward  Rose,  "Iris,"  "The  Lady 
Shore,"  "The  Light  That  Lies  in 
Woman's  Eyes,"  by  Mr.  Sothern, 
"Camille,"  "The  Love  Letter,"  and 
"Anna  Karenina."  She  later  ap- 
peared in  vaudeville  in  "The  Idol 
of  the  Hour"  of  her  own  writing. 


VIRGINIA  HAP.NED 


MR-.. 

WALKER^ 

WHITESIDE 


HAMLET 
Copyright  1896  by  B.  J.  F«Ik 


SHYLOCK 
Copyright  1898  by  B.  J.  Fall. 


WHITE- 
SIDE  began  his  stage 
,  experience  as  a  "boy 
tragedian."  He  was 
born  in  Logansport, 
^Indiana,  and  at- 
tended school  in  Chicago.  He  came 
under  the  direction  of  Samuel  Kay- 
ser,  the  founder  of  the  Chicago 
Conservatory,  and  after  two  years' 
study  and  instruction  he  made 
his  debut  as  a  Shakespearian  star, 
a  position  from  which  he  has  not 
receded  during  more  than  twenty 
years  on  the  stage. 

He  came  into  New  York  an  ab- 
solute stranger  in  1893  and  ap- 
peared in  "Hamlet"  at  the  Union 
Square  Theatre.  A  repetition  of 
the  James  Owen  O'Connor  and 
Count  Johannes  "eggs  and  vege- 
tables" nights  was  anticipated  by 
those  in  the  audience  the  first  night 
and  prepared  for  by  many.  In- 
stead the  audience  heard  him  with 
surprise,  then  wonder,  and  finally 
enthusiastic  applause.  The  critics 
proclaimed  a  "Hamlet"  of  quality 
and  astonishing  in  one  so  young. 
The  theatre  was  crowded  before 
the  first  week  closed. 

With  the  prestige  of  the  ap- 
proval of  New  York  he  resumed 
his  tour,  but  for  fifteen  years  he 
seldom  played  even  in  cities  accus- 
tomed to  support  actors  for  one 
week.  His  repertoire  embraced 
Hamlet,  Shylock,  Richard  III, 
Othello  and  King  Lear.  When 
Shakespeare  failed  him,  he  took  up 
romantic  plays,  many  of  which  he 
wrote  himself,  and  in  the  cities 
which  he  visited  season  after 
season  he  is  well  remembered  in 
dramatizations  of  Stanley  Wey- 
man's  "The  Man  in  Black"  and 
"The  Red  Cockade,"  and  in  Paul 
and  Vaughan  Kester's  "Cousin  to 
the  King,"  "We  Are  King,"  "Heart 
and  Sword,"  Paul  Kester's  version 
of  "Eugene  Aram,"  "David  Gar- 
rick's  Love"  and  "The  Magic 
Melody." 

In  1908  Mr.  Whiteside  entered 
into  an  alliance  with  Liebler  &  Co. 
and  at  once  appeared  in  W.  J. 
Locke's  "The  Beloved  Vagabond." 
The'  play  lacked  popular  elements, 
but  his  performance  of  the  title 
role  was  a  work  of  real  beauty  and 
his  David  Quixano  in  Zangwill's 
"The  Melting  Pot"  has  established 
him  in  the  place  to  which  his 
seasoned  art  entitles  him  among 
players  of  metropolitan  prestige. 


IN  "ROBERT  OF  SICILY" 


*    *    *    *    * 


*    *    *    *    *    *    i* 


N 


-*|7ANCE  O'NEIL  is 
an  actress  whose  en- 

, deavors  have  been 
projected  on  a  high 

'  plane,  and  she  has  re- 


^•peatedly  been  ac- 
corded enthusiastic  praise  by  the 
best  informed  and  most  discrimi- 
nating critics.  She  has  been  pro- 
nounced a  tragic  actress  of  real 
genius,  yet  she  has  been  absent  al- 
most continuously  from  those 
stages  where  an  artist  of  her  en- 
dowment belongs. 

Miss  O'Neil  was  born  in  Oak- 
land, California,  and  received  her 
training  for  the  stage  from  McKee 
Rankin,  under  whose  direction  she 
has  appeared  almost  continuously 


until  recently.  She  made  her  debut 
in  a  play  called  "Sarah"  at  the  Al- 
cazar Theatre,  San  Francisco.  The 
career  thus  entered  upon  has  been 
pursued  for  years  in  all  parts  of  the 
globe,  in  comedy  and  in  tragedy, 
in  stock  companies  and  as  a  star, 
in  the  standard  roles  which  have 
tested  great  artists  of  many  genera- 
tions, and  in  creations  which  have 
stamped  her  an  artist  with  original 
as  well  as  traditional  ideas.  Per- 
vading her  whole  association  with 
the  stage  -is  the  strong  note  of 
deep,  rich  resources  and  lofty  ideals 
worked  out  zealously,  continuously. 
Since  she  has  been  proclaimed  in 
all  the  great  parts  she  has  played 
her  repertoire  may  indeed  be  her 


laurel,  for  she  has  acted  Lady 
Macbeth,  Rosalind,  Juliet,  Leah, 
Magda,  Viola,  Nancy  Sykes,  Ca- 
mille,  Lady  Isabel,  Fedora,  Trilby, 
Parthenia,  Meg  Merillies,  LaTosca, 
Lady  Teazle,  Judith,  Queen  Eliza- 
beth, Tess  of  the  d'Urbervilles, 
Hedda  Gabler,  Marie  in  "The  Fires 
of  St.  John,"  Rebecca  West  in 
"Rosmersholm,"  Zoraya  in  "The 
Sorceress,"  Monna  Vanna,  Agnes 
and  Cleo.  In  the  winter  of  1909 
she  came  under  the  management  of 
David  Belasco,  and  created  in  En- 
glish the  role  of  Odette  de  Maiguy 
in  the  translation  of  Wolff  and  Le 
Roux's  "The  Lily,"  which  was 
acted  at  the  Vaudeville  Theatre  in 
Paris  by  Suzanne  Despres. 


IN  "THE  RUSE  OF"  THE  RANCHO  " 


F 

FRANCES    STARR 

has  been  on  the  stage 
less  than  ten  years, 
of  which  she  has  been 
a  star  for  three.  So 
much  of  this  time  has 
been  spent  in  New  York  that  to  the 
country  at  large  she  is  a  mere  name. 
Her  sudden  success  is  looked  upon 
as  one  of  the  fairy  devices  of  the 
stage  fates.  It  was  prepared  for, 
however,  by  a  long  schooling  in 
various  stock  companies  where  she 
acted  hundreds  of  parts. 

Miss  Starr  was  born  in  Oneonta, 
New  York,  but  when  very  young 
her  family  moved  to  Albany  and. 
there  she  grew  up  and  went  to 
school.  That  city  has  supported 
an  energetic  and  carefully  recruited 
stock  company  for  many  summers 
and  in  1900  Miss  Starr  made  her 
debut  with  one  of  these  organiza- 
tions and  played  a  few  of  the  minor 


ll  33 


RANCLoS  /TAIL 


parts.  In  the  autuinn  of  that  year 
she  joined  Henry  V.  Donnelly's 
stock  company  at  the  Murray  Hill 
Theatre,  New  York  City.  During 
three  consecutive  years  she  acted  a 
new  part  on  an  average  of  once  a 
week,  beginning  with  bits  and  event- 
ually playing  the  leading  ingenue 
roles.  In  1903  she  crossed  the  conti- 
nent and  acted  thirty-three  parts  in 
thirty-seven  weeks  with  the  Alcazar 
Stock  Company,  of  San  Francisco, 
and  returned  to  the  Atlantic  Sea- 
board for  a  further  service  in  stock 
at  the  Castle  Square  Theatre  in  Bos- 
ton for  one  year  and  during  a  few 
weeks  of  the  autumn  of  1905  with 
the  Proctor  Company  of  Fifth 
Avenue  Theatre. 

Charles  Richman  was  at  the  time 
playing  a  special  engagement  at 
the  Fifth  Avenue  Theatre.  When 
he  left  to  appear  in  "Gallops"  a  few 
blocks  further  uptown  at  the  Gar- 


rick  Theatre  he  took  Miss  Starr 
with  him  and  gave  her  her  oppor- 
tunity to  create  a  part  in  a  New 
York  production.  From  that  dis- 
covery dates  her  rise.  David  Belas- 
co,  in  May,  1906,  engaged  her  to 
play  the  leading  ingenue  with  David 
Warfield  in  "The  Music  Master," 
and  under  his  patronage  and  with 
the  opportunities  he  has  given  her 
Miss  Starr  has  become  one  of  the 
best  known  and  admired  of  the 
younger  actresses  in  America. 

None  of  her  efforts  had  attracted 
the  public's  attention  before  she 
made  her  first  appearance  as  Juan- 
ita  in  "The  Rose  of  the  Rancho"  at 
the  Belasco  in  the  autumn  of  1906, 
and  her  delightful  performance  was 
a  thorough  surprise.  But  she  proved 
that  it  was  no  accident  by  her  equal 
expertness  as  Laura  Murdock  in 
"The  Easiest  Way,"  a  part  entirely 
dissimilar  to  Juanita. 


JOHN  BURKETT 
RYDER  IN  "THE 
UON  AND  THE 

MOUSE  " 


EDMUND 


ufDMUND  BREESE 
learned  his  profession 
,  in  the  hardest  of  all 
schools  —  the  road. 
.^Much  is  said  of  the 
"^relentless  work  of  a 
stock  company,  where  there  is  a  new 
part  to  learn  every  week.  In  that 
there  is  at  least  a  variety  of  roles, 
and  it  is  founded  on  domestic  per- 
manence and  the  elimination  of 
travel.  But  Breese  for  fourteen 
years  just  traveled,  traveled,  trav- 
eled. He  seldom  saw  New  York 
and  never  played  there.  Most  of 
the  tours  during  this  space  were 
made  up  of  perpetual  moves  from 
town  to  town  with  only  an  oc- 
casional stop  in  a  two  or  three 
night  stand  or,  at  rare  intervals, 
for  the  restful  length  of  a  week. 
But  in  all  his  road  associations  the 
standard  of  the  plays  was  high, 
he  acted  with  superior  players  and 
there  was  an  absence  of  relaxed  en- 
deavor which  comes  with  a  long 


run  in  cities.    On  tour  nearly  every 
night  is  a  first  night. 

Though  Mr.  Breese  was  born  in 
Brooklyn  he  made  his  first  appear- 
ance on  the  stage  in  the  West  in 
1892,  at  the  age  of  twenty-two. 
After  four  rough  years  he  was  en- 
gaged to  play  the  heavy  parts  in  the 
support  of  Mile.  Hortense  Rhea,  a 
French  actress  of  rare  gifts  who 
won  wide  popularity  throughout 
America  during  long  tours  here. 
He  became  James  O'Neill's  leading 
man  in.  1898  and  the  association 
was  a  long  one.  With  Mile.  Rhea 
he  played  Napoleon  in  ''The 
Empress  Josephine,"  Leicester  in 
"Mary  Stuart,"  Sartorys  in  "Frou 
Frou,"  Benedick  in  "Much  Ado 
About  Nothing,"  Shylock  in  "The 
Merchant  of  Venice,"  and  Lord 
Jeffrys  in  Paul  Kester's  '"Nell 
Gwynne."  With  Mr.  O'Neill  he 
acted  Appius  in  "Virginius,"  Nor- 
tier  in  "Monte  Cristo,"  and  Roche- 
fort  in  "The  Musketeers." 


The  last-named  production  brought 
him  his  first  appearance  in  New 
York  City.  He  was  not  through  with 
his  travels,  however,  until  he  ap- 
peared at  the  Hudson  Theatre  with 
Robert  Edeson  in  "Strongheart," 
in  January,  1905,  playing  Buckley, 
the  trainer,  and  Black  Eagle,  the 
Indian  Chief.  New  York  has  held 
him  almost  continuously  since. 
There  was  an  end  of  what  the  tour- 
ing actor  calls  "living  in  his  trunk." 
At  the  same  theatre  in  1906  Mr. 
Breese  created  John  Burkett  Ryder 
in  Charles  Klein's  "The  Lion  and 
the  Mouse"  and  played  it  there  for 
two  seasons  continuously  and,  in 
1908,  he  created  Richard  Brewster, 
the  attorney,  in  the  same  author's 
"The  Third  Degree,"  which  also 
had  a  run  of  more  than  a  year  in 
the  Hudson  Theatre.  Between  the 
last  two  plays  he  appeared  in 
London  in  "Stronghearr"  with  Mr. 
Edeson  and  in  a  special  production 
of  "The  Lion  and  the  Mouse." 


MARIE     CAHI 


DINGING  comedi- 
ennes are  rare.  There 
,  have  been  three  con- 
spicuous examples,  in 
I  the  last  decade,  of 
^women  who  could  in- 
terpret a  song  as  they  could  a  char- 
acter, with  an  unerring  sense  of 
humor  and  a  contagious  person- 
ality, with  a  gift  for  pointing  the  fun 
delicately  yet  crisply :  Fay  Temple- 
ton,  May  Irwin,  and  Marie  Cahill. 
Miss  Cahill  is  a  Brooklyn  girl 
and  made  her  first  essays  on  the 
stage  in  neighborhood  stock  com- 
panies. After  a  debut  in  New 
York  in  "C.  O.  D.,"  she  went  into 
Charles  Hoyt's  "A  Tin  Soldier," 
and  then  "Superba"  and  "Excelsior, 


Jr."  Miss  Cahill  played,  during  the 
season  of  1896,  in  London  in  "Mo- 
rocco Bound."  During  the  six 
years  following  she  appeared  in 
leading  parts  in  "Sporting  Life," 
"The  Runaway  Girl,"  at  Daly's ; 
"Three  Little  Lambs,"  at  the  Fifth 
Avenue;  "Star  and  Garter,"  at  the 
Victoria ;  "The  Wild  Rose,"  at  the 
Knickerbocker ;  and  "Sally  in  Our 
Alley,"  at  the  Broadway. 

With  singers  of  popular  songs  it 
is  sometimes  the  song,  as  well  as 
the  play  in  which  it  is  sung,  that 
becomes  identified  with  them.  Miss 
Cahill  interpolated  in  "The  Wild 
Rose"  a  song  which  quite  eclipsed 
the  piece,  survived  through  the  life 
of  her  next  comedy,  and  finally 


gave  its  name  to  the  comedy  in 
which  she  made  her  first  appear- 
ance as  a  star.  This  was  the  mem- 
orable "Nancy  Brown."  Another 
song  which  she  made  popular  was 
"Under  the  Bamboo  Tree." 

Miss  Cahill  has  acted  at  the  head 
of  her  own  company  in  "Nancy 
Brown"  in  1903,  spent  the  winter 
of  1904  at  Lew  Fields's  (later  the 
Hackett)  Theatre  in  "It  Happened 
in  Nordland,"  and  she  has  since 
starred  as  Molly  Moonshine  in 
"Moonshine,"  as  Mary  Montgom- 
ery in  "Marrying  Mary,"  which 
was  Edwin  Milton  Royle's  farce 
"My  Wife's  Husbands"  with  few 
alterations,  and  as  Betty  Barbeau 
in  "The  Boys  and  Betty." 


• 

D 


D 
n 


i 


•SI 

1 


of  the  most  gift- 
ed actresses  of  sym- 
patlietic  roles  and  one 
of  the  most  beloved 
players  of  her  gener- 
ation is  Annie  Rus- 
sell. She  came  into  prominence 
when  a  very  young  girl  and  has 
revealed  a  long  gallery  of  winsome 
characters,  sometimes  poetic,  some- 
times romantic  and  sometimes  real- 
istic, but  all  outlined  with  deli- 
cate art. 

Miss  Russell  is  another  of  our 
players  who  has  grown  out  of  a 
stage  childhood  in  a  juvenile  Pina- 
fore company.  Her  first  years  cov- 
ered long  distances.  She  was  born 
in  Liverpool,  was  taken  to  Canada 
when  a  child  and  made  her  debut 
with  Rose  Eytinge  as  Jeanne  in 
"Miss  Moulton,"  at  Montreal,  and 
then  traveled  with  a  juvenile  opera 
company  through  the  United  States, 
West  Indies  and  South  America. 

These  experiences  may  have 
counted  in  the  formation  of  her 
character  and  work,  but  she  was  in- 
conspicuous until  she  created  "Es- 
meralda"  in  Mrs.  Frances  Hodgson 
Burnett's  play  of  that  name  at  the 
Madison  Square  Theatre  in  1881. 
She  remained  at  this  theatre  for 
eight  years,  when  illness  obliged 
her  to  retire. 

Miss  Russell  returned  to  the 
stage  in  1894  and  played  in  "The 
New  Woman,"  "Keeping  Up,"  and 
"Lethe, '  and  with  Nat  Goodwin  in 


"Ambition,"  "Tn  Mizzouri,"  "A 
Gilded  Fool"  and  "David  Garrick." 
In  September,  1896,  in  the  theatre 
of  her  great  success  as  Esmeralda, 
she  made  an  even  greater  triumph 
in  "Sue,"  a  play  founded  on  Bret 
Harte's  story  of  the  same  name. 
During  the  next  two  years  she  cre- 
ated Betty  Fondacre  in  "The  Mys- 
terious Mr.  Bugle,"  Ann  May  in 
"The  Salt  of  the  Earth,"  Madge  in 
"Dangerfield,  "95,"  Margaret  in 
"The  Scenario,"  and  Sylvia  in  "A 
Bachelor's  Romance,"  and  delighted 
London  with  her  "Sue." 

On  her  return  home  she  took  her 
place  among  the  stars  and  presented 
the  series  of  characters  in  which 
she  is  best  known  to  the  present 
generation  of  theatre  goers :  "Cath- 
erine," Jerome's  "Miss  Hobbs," 
Princess  Angela  in  "The  Royal 
Family,"  Winifred  Stanton  in 
Fitch's  "The  Girl  and  the  Judge," 
Peggy  in  "Mice  and  Men,"  Jacque- 
line in  "The  Younger  Mrs.  Par- 
ling,"  Genevieve  in  "Brother 
Jacques,"  Jinny  in  Zangwill's  play 
"Jinny  the  Carrier,"  in  London  as 
Barbara  in  Bernard  Shaw's  "Ma- 
jor Barbara,"  Hannah  Lightfoot  in 
Paul  Kester's  "Friend  Hannah," 
Puck  in  "A  Midsummer-Night's 
Dream"  with  which  she  opened  the 
Astor  Theatre  and  Mary  in  "The 
Stronger  Sex."  During  the  winter 
of  1909  Miss  Russell  became  a 
member  of  the  company  at  The 
New  Theatre. 


LruTJi_n_n_n_rLrLn_ 

PEGGY  IS  -MICE  AND  MEN" 


MAJOR  BARBARA 

ANNIE    R.U5SELL 


Copyright  by  En*«t  K.  MIU« 


•'THE  YANKEE  PRINCE' 


GEORGE  M.COHAN 

is  the  originator  of 
the  Cohan  dance,  the 
Cohan  corner-of-the- 
mouth  curtain  speech, 
8the  Cohan  brand  of 
musical  comedy  entertainment,  the 
Cohan  model  for  Elsie  Janis's  popu- 
lar imitations  and,  though  Nature 
collaborated  efficiently,  of  Cohan's 
Royal  Family.  His  audiences  know 
him  for  a  busy  personality — -when 
as  a  playwright  he  dramatizes  him- 
self and  as  a  manager  puts  himself 
forward  as  a  star  in  the  musical 
comedies  which  as  a  dramatist  and 
composer  he  writes  himself.  His 
other  activities  off  the  stage  con- 
firm this  impression. 

Mr.  Cohan  was  born  in  Provi- 
dence, Rhode  Island,  July  4,  1878, 
and  his  stage  debut  was  made  as  a 
violinist  with  a  "Daniel  Boone" 
company  in  Haverstraw,  New 
York,  when  he  was  nine  years  old. 
The  next  season  he  traveled  with 
his  parents  and  his  sister  in  a  play 
by  his  father,  "The  Two  Barneys," 
and  soon  thereafter  he  was  seen  as 
the  historic  Boy  in  a  tour  of  Gov- 
ernor Peck's  popular  papers  in 
Peck's  Sun  called  "Peck's  Bad 
Boy."  Various  experiences  fol- 
lowed in  stock  companies  and  on 
the  road,  until  his  father,  mother, 
sister  Josephine  and  himself  formed 
a  quartette  under  the  name  of  the 


G       E        O      R.      G       E 
COHAN 


IN 

'•GEORGE 
INGTON, 


GEORGE  WASHINGTON,  JR. 

Four  Cohans  and  played  snappy 
farces  in  vaudeville. 

About  this  time  George  Cohan 
began  to  write  songs,  music  and 
sketches  for  vaudeville  and  aston- 
ished everyone  by  the  rapidity, 
versatility  and  enormity  of  his  out- 
put. One  of  these  he  extended 
from  one  act  to  three  acts  with 
music  and,  as  "The  Governor's 
Son"  it  was  the  foundation  of  his 
extending  reputation.  This  was 
followed  by  other  extensions  of  his 
vaudeville  skits  and  some  wholly 

.  new  pieces.     For  Jiis  own  appear- 

ances he  wrote  "Running  for 
Office,"  "Little  Johnnie  Jones," 
"George  Washington,  Jr."  and  "The 
Yankee  Prince,"  in  all  of  which  he 
starred.  He  is  also  the  author  of 
"Forty-Five  Minutes  from  Broad- 
way," in  which  Fay  Templeton  sang 
"So  Long,  Mary,"  and  made  her 
last  appearances  before  retiring; 
"Fifty  Miles  from  Boston";  "The 
Honeymooners" ;  "The  Talk  of 
New  York,"  which  presented  Vic- 
tor Moore  as  a  star ;  and  a  revision 
of  his  play  "Popularity"  with  the 
addition  of  music,  which  he  called 
"The  Man  Who  Owns  Broadway," 
for  Raymond  Hitchcock.  Mr. 
Cohan  not  only  writes  the  comedies, 
but  he  writes  the  lyrics  and  the 
music.  He  produces  them  and  is  a 
partner  in  other  theatrical  enter- 

WASH-    prises  as  well. 


Mrs  CARLOTTA  NILUON 


els 


•if  HERE  is  the  pathos 
of    her    own     lonely 
,  North  in  Carlotta  Nill- 
son's  struggle  in  life 
and   the   same   aloof- 
^ness    is    often    borne 
by    her    marked    individuality    and 
unique  methods  into  the  impression 
she  sends  across  the  footlights. 

Miss  Nillson  was  born  in  Sweden 
and  was  half  an  orphan  from  birth, 
for  when  she  was  born  her  father 
had  already  died.  Her  mother 
brought  her  to  America  when  she 
was  still  young  and  they  followed 
the  beaten  path  of  their  country- 
men into  Wisconsin  and  Minnesota. 


Necessity  knocked  on  the  door  very 
early  in  life  and  she  went  into  a 
family  as  companion  to  a  group  of 
rich  children  younger  than  herself. 
When  she  and  her  mother  moved  to 
San  Francisco,  Modjeska  was  play- 
ing there  and  she  was  given 
"walking  parts." 

New  York  seemed  necessary  to  a 
successful  beginning.  When  she 
reached  there  and  presented  a  letter 
of  introduction  to  Augustin  Daly 
he  gave  her  a  place  in  the  chorus  of 
a  musical  comedy  playing  at  his 
theatre.  She  gave  this  up  to  play 
a  part  in  "The  Private  Secre- 
tary" on  a  long  tour,  from  the 


A.A 

Jk 


IN  "THE  THREE  OF  US" 


fatigues  of  which  she  was  plunged 
into  an  illness.  Her  next  appear- 
ances were  in  "The  Crust  of  So- 
ciety" and  "Shenandoah."  After 
this  she  gave  up  the  stage  and  lived 
in  retirement  in  England.  She 
studied  all  the  while,  however,  and 
when  she  took  up  her  career  again 
while  in  England  she  played  in 
"The  Ambassador"  and  "The 
Happy  Life." 

The  unsuccessful  struggle  with 
obscurity  went  on,  lightened  tem- 
porarily by  engagements  to  play 
Eunice  in  "Quo  Vadis?"  and  an 
adventuress  in  "Among  Those 
Present"  with  Mrs.  LeMoyne.  The 
end  of  obscurity  if  not  of  struggle 
came  finally  and  New  York  woke 
up  to  the  presence  of  an  unusual 
actress  when  Miss  Nillson  appeared 
as  Mrs.  Elvsted  in  "Hedda  Gabler" 
with  Mrs.  Fiske  at  the  Manhattan 
Theatre,  in  1903.  Her  next  ap- 
pearance was  in  a  special  matinee 
of  a  play  called  "Love's  Pilgrim- 
age." The  effect  of  her  skilful 
work  in  this  play  came  the  follow- 
ing season  when  Charles  Frohman 
engaged  her  to  play  Letty  in  Pin- 
ero's  play  of  that  name,  with  Will- 
iam Faversham.  Her  performance 
of  Letty  bore  out  the  promise  of 
Mrs.  Elvsted.  Her  next  revelations 
of  her  art  were  in  "The  Man  on 
the  Box,"  "The  Three  of  Us," 
"This~  Woman  and  This  Man,"  and 
"For  Better  or  for  Worse." 


OLG  A    NET  HER.S  DLL 


NETHER- 
'  SOLE  is  one  of  the 
many  actresses  whom 
England  has   sent  to 
America    in    the    full 
of    their    art. 


She  is  one  of  the  few  who  have  re- 
mained and  completely  identified 
herself  with  the  theatrical  experi- 
ence of  playgoers  in  all  parts  of  this 
country.  She  first  came  to  this  side 
of  the  Atlantic  in  1894  and  since 
then  her  appearances  elsewhere 
have  been  few. 

The  daughter  of  an  English  bar- 
rister and  a  Spanish  mother,  she 
was  born  in  London  and  proved 
herself  proficient  in  amateur  theat- 
ricals when  a  young  girl.  Her  first 
years  on  the  stage  were  spent  in 
English  touring  companies  and  she 
made  her  London  debut  in  1888  in 
a  production  of  "The  Union  Jack,'1 
at  the  Adelphi.  She  at  once  stepped 


SAPHO 

into  leading  parts  and  when  the 
Garrick  Theatre  was  opened  in 
1889  she  was  given  the  role  of  Janet 
Preece  to  create  in  Pinero's  "The 
Profligate."  At  this  theatre  she 
later  played  in  "La  Tosca"  and  "A 
Fool's  Paradise."  A  ten  months' 
tour  in  Australia  was  her  next  ex- 
perience and  when  she  returned  to 
London  she  appeared  as  Zicka  in  a 
revival  of  "Diplomacy"  and  created 
leading  parts  in  "The  Silent  Battle'' 
and  in  "The  Transgressor."  The 
latter  play  was  the  vehicle  of  her 
first  American  appearance,  October 
15,  1894,  at  Palmer's  Theatre.  Af- 
ter her  success  here  her  appear- 
ances alternated  between  England 
and  America.  In  England  she  suc- 
ceeded Mrs.  Patrick  Campbell  in 
"The  Notorious  Mrs.  Ebbsmith," 
and  produced  in  dramatic  form 
"Carmen,"  in  which  she  exploited 
the  celebrated  "Ncthersole  kiss"; 


"The  Termagant,"  and  Fitch's 
"Sapho." 

In  America  Miss  Nethersole 
played  all  these  parts  and  to  her 
repertoire  she  added  revivals  of 
"Camille,"  "Adrienne  Lecouvreur," 
"Denise,"  "Romeo  and  Juliet,"  and 
"The  Second  Mrs.  Tanqueray." 
Among  the  plays  of  which  she  has 
made  the  first  production  here  are 
"The  Labyrinth,"  "The  Awaken- 
ing," William  J.  Hurlbut's  "The 
Writing  on  the  Wall,"  and  Asa 
Steele's  "Locke  of  Wall  Street." 

Beginning  June  4,  1907,  Miss 
Nethersole,  during  ten  successive 
evenings,  played  in  English  ten  dif- 
ferent roles  from  her  repertoire  at 
the  Theatre  Sarah  Bernhardt, 
Paris.  Her  popularity  throughout 
America  is  great,  for  she  has  often 
proved  herself  an  emotional  actress 
of  wonderful  charm,  distinction,  in- 
sight and  power. 


IN  •'  I  PAGLIACCI 


LOUIS  MANN 


*$OUiS  MANN  is  an 
actor  who  has  asso- 
ciated himself  in  the 
public  mind  with 
German  character 
"^parts.  His  talents  are 
really  more  comprehensive,  but  this 
is  the  type  of  part  he  has  played 
with  only  a  few  exceptions  since  he 
became  a  prominent  player ;  and  as 
audiences  are  generally  observers 
and  rarely  discerners,  Louis  Mann 
is  known  as  an  actor  of  German 
characters.  As  a  matter  of  fact  the 
first  third  of  his  career  was  devoted 
to  classic  roles  and  straight  light 
comedy. 

Mr.  Mann  was  born  in  New 
York  City  and  made  his  debut 
there,  at  the  age  of  three  and  a  half, 
in  "Snow  Flake,"  a  pantomime 
founded  on  one  of  the  Grimm  Fairy 
Tales,  at  the  old  Stadt  Theatre  in 
the  Bowery  in  1868.  At  that  time 
this  theatre  was  the  principal  play- 
house in  the  celebrated  old  street. 
His  retirement  was  as  precipitate  as 
his  debut,  and  more  nearly  perma- 
nent, for  he  did  not  emerge  into  the 
public  eye  again  until  he  was  eigh- 
teen years  old.  In  the  interval  his 
parents  had  moved  to  San  Francisco, 
and  he  attended  school  there. 
When  Lawrence  Barrett  and  John 


McCullough  came  to  San  Francisco 
in  the  early  eighties,  he  haunted  the 
theatre  and  finally  was  given  small 
parts.  He  barnstormed  his  way 
eastward  and  through  the  East, 
often  playing  Hamlet.  Later  he 
had  parts  in  ''The  Gladiator"  and 
in  "Othello"  and  other  Shake- 
spearian plays  with  Tommaso  Sal- 
vini  and  Lewis  Morrison  and  Marie 
Prescott. 

One  of  the  milestones  in  his 
early  experience  was  his  first  op- 
portunity to  create  a  role  in  a  new 
production  in  a  New  York  theatre, 
which  came  to  him  in  the  part  of 
Page  in  Oscar  Wilde's  first  play, 
"Vera,"  at  the  Union  Square  in 
1883.  This  occasion  was  not  of 
large  consequence  to  any  one  but 
himself,  for  his  real  demonstrations 
of  talent  were  to  come  later.  He 
played  on  long  tours  in  "Called 
Back,"  "Lost,"  and  other  dramas, 
and  his  name  appears  in  casts  with 
E.  H.  Sothern  and  Cyril  Maude, 
who  later  became  celebrated  as  a 
London  actor  -  manager.  Mr. 
Maude's  health  broke  down  and  he 
was  sent  across  the  Atlantic  to  the 
Rocky  Mountains.  While  he  was 
in  the  United  States  he  joined  Dan- 
iel Bandmann,  who  was  starring  in 
"Dr.  Jekyll  and  Mr.  Hyde."  Louis 


Mann  was  another  member  of  this 
company,  and  his  performance  of 
Gabriel  Utterson  gave  him  his  first 
substantial  success. 

When  "Incog,"  later  turned  into 
the  musical  comedy  "Three 
Twins"  with  such  success,  was  pro- 
duced at  the  Bijou  in  1892,  Mr. 
Mann  was  one  of  the  hits  of  the 
farce  as  Dick.  He  followed  this 
with  struggling  tours  in  "The 
Laughing  Girl"  and  "Hannah,"  re- 
appeared in  New  York  in  "The 
Merry  World"  as  Svengali  and  fol- 
lowed this  with  Herr  Von  Moser 
in  "The  Strange  Adventures  of 
Miss  Brown,"  at  the  Standard  in 
1895,  for  which  he  was  much 
praised.  This  committed  him  se- 
curely to  German  characters  in 
New  York.  Subsequently  he  played 
in  "The  Girl  From  Paris,"  in 
which  he  first  popularized  the 
phrase  "It  is  to  laugh" ;  in  "The 
Telephone  Girl,"  "All  on  Account 
of  Eliza,"  "The  Red  Kloof," 
"Hoch  the  Consul,"  at  Weber  and 
Fields's,  and  in  "The  Second  Fid- 
dle" and  "The  Man  Who  Stood 
Still."  During  this  time  he  gave 
skilful  portrayals  of  French  char- 
acter as  Le  Bardy  in  "The  Girl  of 
the  Barracks"  and  Jean  Poujol  in 
"Julie  Bon-Bon." 


Ml  55  1DACONQ5JE5T 


*f  DA  CONQUEST  is 
an  actress  who  after 
,  her  first  appearances 
on  the  stage  advanced 
herself  to  a  position 
"among  the  popular 
leading  women  in  America  and  she 
has  maintained  herself  there  by  a 
long  series  of  performances  which 
have  distinguished  her  as  an  artist 
of  charm  and  ability.  Born  in  Bos- 
ton in  1870,  she  made  her  first  ap- 
pearance in  New  York  at  the  Fifth 
Avenue  Theatre  January  28,  1893, 
as  the  First  Girl  Friend  in  "The 
Harvest."  Olga  Nethersole  came 
to  America  in  the  next  year  and 
Miss  Conquest  played  the  ingenue 
parts  in  her  repertoire  at  Palmer's 
Theatre. 

The  excellence  of  these  perform- 
ances attracted  Charles  Frohman's 
attention  and  he  engaged  her  for 
the  Empire  Theatre.  In  that  com- 
pany she  played  Clarice  in  Henry 
Arthur  Jones's  "The  Masquera- 
ders'' ;  moved  to  Hoyt's  Theatre  for 
the  run  of  "The  Foundling"  in 
which  she  played  Alice  Maynall, 
and  then  she  returned  to  the  Em- 
pire to  play  conspicuous  parts  in 
Jones's  "Michael  and  His  Lost 
Angel,"  Clyde  Fitch's  "Bohemia," 
the  dramatization  of  Stanley  Wey- 
man's  "Under  the  Red  Robe," 
"A  Man  and  His  Wife,"  Paul 
Potter's  "The  Conquerors,"  and 
Hudson  Chambers's  "The  Tyranny 
of  Tears."  She  created  Dorothy 
Manners  as  John  Drew's  leading 
lady  in  the  dramatization  of  Win- 
ston Churchill's  "Richard  Carvel." 
Since  then  Miss  Conquest  has 
been  conspicuous  for  many  fine  per- 
formances, notably  as  Mrs.  Billings 
in  Gillette's  "Too  Much  Johnson," 
Gertrude  West  in  the  same  writer's 
"Because  She  Loved  Him  So,"  as 
Muriel  Mannering  in  Captain  Mar- 
shall's "The  Second  in  Command," 
as  Helena  in  a  production  of  "A 
Midsummer  Night's  Dream, "which 
dedicated  the  New  Amsterdam  The- 
atre, as  the  Tzaritza  in  Richard 
Mansfield's  production  of  Alexis 
Tolstoi's  "Ivan  the  Terrible,"  as 
William  Collier's  leading  woman 
during  his  first  London  season,  as 
Ann  Whitfield  in  Bernard  Shaw's 
"Man  and  Superman,"  as  the  Com- 
tesse  de  Roquelaure  with  Kyrle 
Bellew  in  Conan  Doyle's  "Brigadier 
Gerard,"  as  a  star  in  "The  Money- 
makers" and  as  Hilda  McTavish  in 
"The  Wolf." 


Walker 


IN  "ON  PAROLE" 
Photo  by  H»U 


*f  H  A  R  L  O  T  T  E 
1  WALKER  is  a  native 
,  of  Texas  and  was 
born  in  the  city  of 
^  Galveston.  Her  first 
"^"appearances  in  plays 
were  as  an  amateur  in  her  native 
city.  With  pronounced  talent,  as 
well  as  delicate  beauty,  and  real 
charm,  she  adopted  acting  as  a 
profession.  She  went  to  New 
York  in  1895  and  secured  an  in- 
terview with  Richard  Mansfield, 
who  admitted  her  to  his  company. 
After  a  season  of  this  valuable 
training  she  crossed  to  England 
and  in  the  summer  of  i8</> 
acted  with  Charles  Hawtry  in  "The 
Mummy.''  On  her  return  she  mar- 
ried and  retired  from  the  stage. 

The  call  of  the  theatre  was  per- 
sistent, however,  and  she  finally 
heeded  it  in  1900.  Since  that  time 
she  has  been  continuously  promi- 
nent. Her  re-appearance  was 
made  in  "Miss  Frintt,"  with 
Marie  Dressier,  and  for  a  short 
time  she  played  with  James  A. 
Herne  in  "Sag  Harbor."  Then  be- 
gan a  long  association  with  James 
K.  Hackett  with  whom  she  played 
in  "Don  Csesar's  Return,"  "the 
Crisis,"  "John  Ermine  of  the  Yel- 
lowstone," "The  Crown  Prince," 
"The  Fortunes  of  the  King,"  and 
"The  House  of  Silence/'  This  se- 
quence was  only  once  interrupted 
when  she  appeared  with  Kyrle 
Rellew  in  "A  Gentleman  of 
France." 

Miss  Walker  has  since  created 
many  leading  parts  in  New  York 
productions  for  which  she  is  well 
remembered  and  much  admired. 
The  list  includes  Thora  Neilson  in 
"The  Prodigal  Son,"  Madge  Ben- 
der in  "The  Embassy  Ball."  with 
Lawrence  D'Orsay ;  Alice  Travers 
in  "The  Prince  Chap,"  and  Agatha 
in  "The  Warrens  of  Virginia." 

During  two  recent  summers  at 
the  head  of  her  own  stock  company, 
in  Washington,  D.  C,  Miss  Walker 
broadened  the  range  of  her  experi- 
ence by  hastily  studied  but  effec- 
tively composed  performances  of 
Nora  in  "A  Doll's  House,"  Lady 
Windemere  in  "Lady  Windemere's 
Fan,"  "Zaza,"  and  other  diversified 
characters.  She  is  the  wife  of 
Eugene  Walter,  the  dramatist,  who 
has  written  "Just  a  Wife,"  for  her. 


•BS- 


Charlotte/ W\Ik 


THE  WARRENS  OF 
VIRGINIA" 


JEAN  VALJEAX 
1\  "THE  LAW  AND  THE  MAN 


/%.  WILTON  LACKATE 


HILTON  LACK- 

AYE  was  born  in 
Lou  don     County, 
Virginia,   and   was 
at      the 


D 


nJ 


^^ 

""^College  of  Ottawa 
and  at  Georgetown  University. 
His  first  choice  of  "a  career  was 
the  priesthood,  and  in  pursuit  of 
this  intention  he  and  his  father 
had  reached  New  York  on  their 
way  to  Rome  where  he  was  to 
study  at  the  Propaganda.  Two 
weeks  of  theatre-going  changed 
that  plan.  He  felt  the  call  of  the 
stage.  His  family  opposed  him. 
They  compromised  on  a  legal  ca- 
reer. There  was  in  Washington 
an  amateur  organization  known 
as  the  Lawrence  Barrett  Dra- 
matic Society,  and  Lackaye  be- 
came the  president,  though  he 
was  only  eighteen  years  old  at 
the  time.  Lawrence  Barrett  at- 
tended one  of  their  performances 
and  offered  Lackaye  a  place  in 
his  company.  He  accepted  and  his 
father  refused  to  speak  to  him. 


This  was  in  1883  and  for  seven 
years  he  worked  through  a  cha- 
otic experience  of  all  kinds  of 
touring,  stock  work,  and  every- 
thing except  idleness.  During 
the  year  1890  he  acted  Jack 
Adams  in  "Money  Mad,"  An- 
tonio in  "A  Mighty  Power,"  Jim 
Hogan  in  "The  Canuck,"  Pierre 
Clemenceau  in  "The  Clemenceau 
Case,"  Dr.  William  Brown  in 
"Dr.  Bill,"  Claudius  Nero  in 
"Nero"  and  Captain  Walsh  in 
"The  Haunted  Room."  After 
acting  Pierre  with  Kate  Claxton 
in  "The  Two  Orphans"  and 
creating  Steve  Carson  in  "The 
Power  of  the  Press,"  he  went  to 
England  and  spent  a  year  play- 
ing with  George  Alexander  in 
"The  Idler." 

From  the  time  he  returned  Mr. 
Lackaye  took  a  firm  position  as 
one  of  the  most  able  leading  men 
and  character  actors  on  the 
American  stage.  His  notable 
impersonations  were  Jefferson 
Stockton  in  Bronson  Howard's 


"Aristocracy,"  John  Stratton 
in  Augustus  Thomas's  "New 
Blood";  Svengali  in  Paul  Pot- 
ter's dramatization  of  George 
DuMaurier's  "Trilby" ;  Reb 
Shemuel  in  Israel  Zangwill's 
"Children  of  the  Ghetto";  Pe- 
tronius  in  the  dramatization  of 
Sienkiewicz's  "Quo  Vadis?"  and 
Richard  Sterling  in  Clyde  Fitch's 
"The  Climbers." 

He  made  an  artistic  but  inef- 
fectual effort  at  stardom  in 
Charles  Klein's  "Dr.  Belgraff" 
in  1897,  but  his  fixed  place  was 
attained  as  Curtis  Jadwin  in 
Channing  Pollock's  dramatiza- 
tion of  Frank  Norm's  "The  Pit" 
in  the  winter  of  1903.  Since  then 
Mr.  Lackaye  has  acted  Consul 
Bervick  in  Ibsen's  "The  Pillars 
of  Society,"  Jean  Valj can  and  M. 
Madeline  in  his  own  play  "The 
Law  and  the  Man,"  from  Victor 
Hugo's  "Les  Miserables" ;  Hall 
Caine's  "The  Bondman,"  and 
finally  as  Haggleton  in  Cleveland 
Moffett's  "The  Battle." 


TO 


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IN  "A  WOMAN'S  WAY 
Photograph  by  Hall 


MISS     OR.ACE      GEORGE 


IN  "ABIGAIL" 


final  acceptance 
'  of  Grace  George  as 
,  one  of  our  best  ac- 
tresses is  an  example 
•  of  perseverance  in  the 
"^face  of  disheartening 
opinion  that  will  encourage  the 
steadfast  and  blight  the  weak  of 
heart.  She  was  a  star  for  eight 
years  before  she  came  into  a  real 
position.  The  reason  is  near  the 
surface.  Miss  George  is  that  rarest 
of  gifted  creatures,  a  comedienne, 
and  yet  season  after  season  she  was 
advanced  in  roles  supposed  to  be 
light  but  in  effect  rather  well 
saturated  with  emotion  and  in 
situations  often  automatic  and  the- 
atrical. In  1907,  however,  she 
somehow  made  her  appearance  as 
Cyprienne  in  "Divorcons,"  and 
stood  revealed.  She  played  this 
role  in  London  in  the  spring  of  that 
year  and  established  herself  there  in 
a  night.  This  effort  was  wisely  fol- 
lowed by  another  comedy,  Thomas 
Buchanan's  "A  Woman's  Way," 


in  which  she  played  Marion 
Stanton,  further  obliterating  ear- 
lier indiscretions  of  management, 
and  in  December,  1909,  she  acted 
Lady  Teazle  in  "The  School  For 
Scandal"  as  guest  player  at  The 
New  Theatre  and  scored  an  em- 
phatic success  with  both  critics  and 
public. 

Miss  George  is  a  New  York  girl. 
After  a  few  years  in  a  convent 
school  she  prepared  for  a  career  on 
the  stage  at  the  American  Academy 
of  Dramatic  Arts  and  gained  her 
first  professional  experience  in  ap- 
pearances on  tour  in  Belasco  and 
Fyle's  military  play,  "The  Girl  I 
Left  Behind  Me."  It  was  in  a 
small  part  in  an  imported  English 
farce,  "The  New  Boy,"  presented 
June  23,  1894,  at  the  Standard 
Theatre,  that  she  made  her  New 
York  debut.  For  three  years  she 
played  a  variety  of  parts  on  tour 
and  in  vaudeville.  She  returned 
to  New  York  in  1898  and  began 
to  be  heard  of  for  her  perform- 


ances in  "The  Turtle"  and  "Mile. 
Fi-Fi." 

The  following  year  she  was  ad- 
vanced as  a  star  in  "The  Countess 
Chiffon,"  an  adaptation  of  the 
younger  Dumas 's  "Diana  de  Lys." 
Her  next  plays  were  "Her  Maj- 
esty," in  1900;  "Under  Southern 
Skies"  during  the  two  years  follow- 
ing together  with  a  few  perform- 
ances in  "Frou-Frou"  and  "Pretty 
Peggy"  m  1903.  Miss  George 
acted  Louise  in  the  revival  of  "The 
Two  Orphans"  in  1904;  Abigail 
Stokes  in  "Abigail"  in  the  spring 
of  1905,  and  in  the  autumn  follow- 
ing Lady  Kitty  in  a  dramatization 
of  "The  Marriage  of  William 
Ashe";  and  "The  Richest  Girl"  and 
Olivia  Sherwood  in  "Clothes"  in 
1906.  This  was  followed  by  her 
charming  Cyprienne,  in  both  Amer- 
ica and  England,  Marion  Stanton 
and  Lady  Teazle,  which  have  made 
her  future  so  well  worth  watching 
for  the  promise  it  holds  of  high 
pleasures  for  lovers  of  pure  comedy. 


Miss 

GRACE 
GEORGE 


MR  '   NAT   '  C  *  GOODWIN' 


Copyright  1905  by  Frank  C.  Bangs 


C.  GOODWIN,  or 
"Nat"  Goodwin,  as  he 
has  been  familiarly 
referred  to  for  years, 
has  enjoyed  as  great 
**"  '  "a.  popularity  as  any 
other  actor  in  the  American  the- 
atre. The  talent  for  comedy  which 
he  brought  to  the  stage  was  gen- 
uine and  native,  for  he  was  a 
star  from  almost  the  beginning  of 
his  association  with  the  playhouse. 
He  was  born  in  Boston  in  1857. 
At  school  his  gifts  as  a  mimic  were 
the  admiration  of  the  other  pupils. 
He  made  his  professional  appear- 
ance at  the  Boston  Howard  Athe- 
naeum as  a  newsboy  in  "Law  in  Xew 
York,"  March  5,  1874,  after  he  had 
a  brief  career  as  a  dry  goods  clerk 
and  an  upholsterer.  His  imitations 
rather  than  original  characteriza- 
tion were  his  earliest  stock  in  trade, 
and  they  were  popular.  He  did 
much  developing  work  in  stock 
companies  and  burlesques  such  as 
"Black-Eyed  Susan,"  and  in  1876 
he  played  LeBlanc  in  "Evangeline" 


and  continued  to  act  this  role  for 
two  years. 

He  starred  from  this  time  on, 
and  the  list  of  farces,  comedies, 
operas  and  dramas  in  which  he 
appeared  seems  interminable,  but 
it  is  interesting  in  recalling  the 
large  number  of  familiar  titles  his 
rich  fun  made  popular:  "Cruets," 
'"Hobbies,"  "The  Member  from 
Slocum,"  Mathias  Irving  in  "Those 
Bells,"  Ananias  in  "Warranted," 
Blizzard  in  "Confusion,"  "The 
Skating  Rink,"  "A  Terrible  Time," 
"Little  Jack  Sheppard,"  "Turned 
Up,"  "The  Mascot,"  "Lend  Me 
Five  Shillings,"  Gringoire  in  "A 
Royal  Revenge,"  "A  Gold  Mine," 
"The  Stowaway,"  "The  Bookmak- 
er," "The  Nominee,"  "A  Gilded 
Fool,"  Jim  Radburn  in  Augustus 
Thomas's  "In  Mizzoura,"  "David 
Garrick,"  Bob  Acres  in  "The 
Rivals,"  and  Sir  Lucius  O'Trig- 
ger  to  Jefferson's  Bob  Acres, 
Cruger  in  "An  American  Citi- 
zen," Teddy  North  in  Fitch's 
"The  Cowbov  and  the  Ladv," 


Richard  Carewe  in  "When  We 
Were  Twenty-One,"  Shylock  in 
"The  Merchant  of  Venice,"  Rich- 
ard Arbuthnot  in  "The  Altar  of 
Friendship,"  Clyde  Fitch's  "Nathan 
Hale,"  Bottom  in  "A  Midsummer 
Night's  Dream,"  which  was  the 
dedicatory  play  of  the  New  Am- 
sterdam Theatre;  Edwin  Milton 
Royle's  "My  Wife's  Husbands," 
"The  Usurper,"  Captain  James 
Barley  in  "Beauty  and  the  Barge," 
Cherokee  in  "Wolfville,"  "The 
Genius,"  "In  a  Blaze  of  Glory," 
"The  Easterner,"  "The  Master 
Hand"  and  Mr.  Tarkington  and 
Mr.  Harry  Wilson's  "Cameo  Kirby." 
He  made  his  first  appearance  in 
London  in  July,  1890,  in  "The  Gold 
Mine."  He  visited  Australia  in 
1896,  and  made  a  second  visit  to 
London  in  1899  and  a  third  in 
1906,  acting  several  of  his  more 
admired  comedies.  At  the  noted 
Cincinnati  Dramatic  Festival  Mr. 
Goodwin  was  the  Modus  in  "The 
Hunchback"  and  the  First  Grave 
Digger  in  "Hamlet." 


MR   NAT     C 


GOODWIN 


NATHAN  HALE 
Copyright  IS98  Roi-kwoods 


SHYLOCK 
Copyright  1901  by  Burr  Mclotosl] 


IS   "THE  BEAUTY  AND  THE  BARGE" 


BERTHA'KALICH 


B 


BERTHA  KALICH 
acted  the  entire  reper- 
toire of  Bernhardt 
and  Duse  during  a 


*>•- 


period   in    New 
'York  before  that  city 


can  be  said  to  have  known  of  her 
existence.  One  night  in  May,  1905, 
at  the  conclusion  of  a  season  of 
stock  performances  at  the  Amer- 
ican Theatre,  on  the  invitation  of 
George  Fawcett,  she  played  Sar- 
dou's  "Fedora"  with  his  company 
in  English.  The  occasion  was  elec- 
tric with  the  sense  of  discovery,  for 
a  great  artist  stood  revealed.  Yet 
behind  that  one  performance  was  a 
long  career  of  study,  experience, 
and  triumph. 

During  ten  years  Madame  Kalich 
had  been  the  leading  actress  at 
Bowery  theatres  for  the  quarter 
of  a  million  Yiddish  in  that  vast 
unknown  city  referred  to  vaguely 
as  "the  East  Side."  Back  of  that 
decade  was  another  spent  in  the 
Jewish  theatres  of  Europe.  After 
her  eventful  debut  in  the  new  tongue 
she  took  a  conspicuous  place  among 
the  emotional  and  tragic  actresses 
of  the  American  stage.  She  made 
many  ambitious  appeals  to  the  pub- 
lic at  large,  but,  though  appreciation 
was  not  withheld  by  the  discrimi- 
nating, the  plays  she  acted  in  did 
not  become  popular,  and  after  four 
years  she  temporarily  retired. 

Madame  Kalich  was  born  in  the 
city  of  Lemberg  of  orthodox  Jewish 
parents.  The  family  was  poor,  and 
the  daughter,  after  a  brief  term  in 
school,  joined  the  chorus  of  the 
Polish  theatre,  and  soon  was  en- 
trusted with  parts.  About  the  same 
time  the  Jewish  Theatre  was  estab- 
lished, and  before  she  was  seventeen 
she  was  leading  woman  there  and 
had  acted  a  long  series  of  tragic 
roles.  Then  for  three  years  she 
played  in  Roumania  and  Hungary. 
The  manager  of  a  Yiddish  theatre 
in  New  York  found  her  in  Rou- 
mania and  persuaded  her  to  become 
the  star  of  his  company.  She  ac- 
cepted because  she  felt  it  might  lead 
to  the  other  stage,  which  finally  did 
welcome  her. 

After  leaving  the  Ghetto,  Ma- 
dame Kalich  acted  "Monna  Vanna" 
in  Sudermann's  play  of  that  name 
at  the  Manhattan  Theatre  in  1905. 
She  followed  this  with  a  dramatiza- 
tion of  Tolstoi's  "Kreutzer  So- 
nata," Angel  Guimera's  "Marta  of 
the  Lowlands,"  a  production  of 
Percy  Mackaye's  "Sappho  and 
Phaon."  and  Thomas  Dickinson's 
"The  Unbroken  Road." 


MIS.SBEIVTHA     KALICH 


MR.BDUO1AJ  FAIRBAIW 


£) 


•DOUGLAS  FAIR- 
BANKS is  generally 
regarded  as  the  lead- 
ing exponent  of  light 
comedy  boys  and 
""^voting  men  of  to-day. 
He  has  an  ingratiating  personality 
charged  with  health,  directness, 
breeziness,  and  a  certain  patrician 
quality  which  contributes  an  attrac- 
tion to  any  part  he  plays.  He  has 
been  on  the  stage  only  nine  years, 
yet  in  that  time  he  has  created  a 
new  role  in  New  York  on  an  aver- 
age of  at  least  once  a  year. 

Mr.  Fairbanks  was  born  in  Colo- 
rado and  went  on  the  stage  in  1899, 
in  support  of  Frederick  Warde, 
playing  small  parts  in  that  actor's 
Shakespearian  repertoire.  He  soon 
doffed  the  romantic  costume,  how- 
ever, and  has  since  been  seen  only 
in  modern  dress.  He  made  his 
debut  at  the  Manhattan  Theatre  in 
1900,  in  support  of  Herbert  Kelcey 
and  Effie  Shannon  as  the  young 
lover,  Lord  Canning,  in  Martha 
Morton's  "Her  Lord  and  Master.'' 
The  play  passed  and  Fairbanks  re- 
mained. The  next  season  he  acted 
small  parts  in  "The  Rose  of  Ply- 
mouth Town"  and  "Mrs.  Jack." 

Landry  Court  was  the  first  char- 
acter in  which  he  had  a  real  chance 
to  score  and  he  attained  a  fixed 
position  by  his  performance  of  it. 
This  was  in  Channing  Pollock's 
dramatization  of  Frank  Norris's 
"The  Pit,"  in  Wilton  Lackaye's 
company  in  the  spring  of  1904. 
He  played  in  -"Two  Little  Sailor 
Boys,"  and  when  "Fantana"  ran  at 
the  Lyric,  he  took  his  first  and  last 
dip  into  musical  comedy. 

The  next  time  he  appeared  he 
was  "featured"  in  "A  Case  of 
Frenzied  Finance."  It  was  not  for 
long.  A  part  in  "As  Ye  Sow"  re- 
acquainted  him  with  touring  in 
1905.  During  the  summer  of  1906 
he  acted  a  round  of  juvenile  parts 
in  one  of  the  summer  stock  com- 
panies for  which  Denver  has  for 
many  years  been  famous,  and  when 
he  returned  to  New  York  in  the 
fall  he  created  Thomas  Smith,  Jr., 
with  Grace  George  in  "Clothes." 
Two  of  his  most  conspicuous  hits 
sandwiched  a  failure  in  his  succes- 
sive appearances  as  Perry  Carter 
Wainwright  in  "The  Man  of  the 
Hour,"  as  a  star  in  "All  for  a  Girl" 
and  playing  the  secretary  as  a  co- 
star  with  Thomas  A.  Wise  in  "A 
Gentleman  From  Mississippi." 


IN  "THE  MAN*  OF  THE  HOUR1 


IN   '-ALL  FOR  A  GIRL'' 


c 


IN   "PIERKK  OF  THE 
PLAINS" 


IN  "THE  TRAVELLING 
SALESMAN  1; 


I 


Miss      E     L     5      I     E 


LSIE  FERGUSON 
became  a  celebrity 
from  the  night  of 
her  first  appearance 
as  "Such  a  Little 
'Queen,"  for  everyone 
who  has  seen  her  thinks  that  title 
fits  the  actress  as  well  as  the  char- 
acter. Of  course  there  was  an  Elsie 
Ferguson  before  that,  and  many 
people  saw  her,  but  few  remem- 
bered her  by  name,  for  the  mass  of 
theatregoers  are  oblivious  of  names 
unless  they  are  burned  into  their 
consciousness  in  electric  light  or 
stamped  in  very  large  black  type. 

Miss  Ferguson's  rise  suggests 
how  surprisingly  few  daughters  of 
New  York  families  achieve  distinc- 
tion on  the  stage.  She  was  born  in 
the  big  city  where  actresses  are 
made.  Her  father  was  of  Scotch, 
her  mother  of  German  descent.  It 
was  planned  that  she  should  be- 
come a  teacher  and  she  attended  a 
normal  school  for  a  while,  but  fate 
was  working  in  another  direction. 
Because  her  shoulders  were  round- 
ing, her  mother  had  her  join  a 
fencing  class.  There  she  met  a  girl 
who  knew  an  actress,  and  the 
sequel  is  obvious. 

Miss    Ferguson    made    her    first 


IN    "THE  BATTLE' 


IN   "SUCH  A  UTTLK 
QUEEN " 


FEIVGUSON 

appearance  on  the  stage  in  1900  in 
the  chorus  of  "The  Belle  of  New 
York,1'  on  tour.  She  remained  in 
the  chorus  of  musical  comedy  com- 
panies for  four  years,  and  then  left  • 
both  chorus  and  music  behind  her 
for  a  part  in  support  of  Louis  Mann 
in  "The  Second  Fiddle."  But  it  was 
not  yet  for  good  and  all,  for  during 
the  season  of  1905  she  sang  Celeste 
in  "Miss  Dolly  Dollars,"  in  Lulu 
Glaser's  company. 

Since  then  she  has  been  acting 
parts  of  steadily  increasing  im- 
portance. Following  a  short  term 
as  Caroline  in  "Julie  Bon-Bon," 
again  with  Louis  Mann,  she  played 
Agnes  in  "Brigadier  Gerard"  with 
Kyrle  Bellew ;  Ella  Seaford  in 
"The  Earl  of  Pawtucket"  with 
Cyril  Maude,  at  the  Playhouse, 
London ;  Greeba  in  "The  Bond- 
man" with  Wilton  Lackaye ;  Jean 
Galbraith  in  "Pierre  of  the  Plains" 
with  Edgar  Selwyn ;  Jenny  Moran 
with  Mr.  Lackaye  in  "The  Battle," 
and  Beth  Elliott  in  James  Forbes's 
comedy,  "The  Travelling  Sales- 
man." In  the  autumn  of  1909  she 
won  wide  admiration  as  a  star  as 
Queen  Anna  Victoria  in  Channing 
Pollock'-s  comedy,  "Such  a  Little 
Queen." 


*f  IOLA  ALLEN  at- 
tained to  a  conspicu- 
ous position  earlier 
in  life  than  any  other 
living  American  ac- 
tress who  has  aug- 


mented her  fame  as  the  years  have 
passed.  Her  career  covers  two 
generations  for,  though  in  youth 
and  achievements  she  belongs  to 
the  present  generation,  she  was 
leading  lady  for  John  McCullough, 
Lawrence  Barrett  and  Tommaso 
Salvini,  who  belonged  to  quite  an- 
other period.  The  explanation  is 
simple.  Miss  Allen  played  their 
Cordelia,  Virginia,  Parthenia,  Des- 
demona,  Julia,  and  Lady  Anne 
when  she  was  but  fifteen  years  old. 
She  was  born  October  27,  1869,  in 
Huntsville,  Alabama,  and  was  edu- 
cated in  Boston,  Toronto,  and  New 
York.  It  was  not  her  intention  to 
go  on  the  stage.  One  day,  while 
"Esmeralda"  was  enjoying  its  great 
vogue  at  the  Madison  Square  The- 
atre, Annie  Russell,  who  was  play- 
ing the  title  part,  fell  ill.  Her 
father  was  a  member  of  the  com- 
pany, and  William  Seymour,  the 
stage  manager  of  the  theatre,  asked 
him  to  allow  his  daughter,  Viola, 
to  play  the  part.  It  was  in  this 
play,  part,  and  theatre  that  she 
made  her  debut,  July  4,  1882.  This 
performance  attracted  the  attention 


SISTER  GIOVANNA 


of  John  McCullough,  who  made 
her  his  leading  lady  in  1884.  Then 
followed  the  engagements  as  lead- 
ing woman  for  Salvini  and  Bar- 
rett. Miss  Allen  has  always  shown 
marked  versatility  in  her  range  of 
parts,  and  after  this  experience  in 
poetic  roles,  she  turned  with  fa- 
cility to  the  modern  roles  of  the 
Boston  Museum.  She  was  chosen 
next  to  play  Lydia  Languish  and 
Cecily  Homespun  in  "The  Rivals" 
and  "The  Heir  at  Law"  when 


Joseph  Jefferson  and  William  J. 
Florence  made  their  joint  starring 
tour.  After  an  interval  in  New 
York  productions  of  modern  plays, 
she  joined  the  Empire  Theatre 
Company  in  1893  and  remained 
five  years.  She  created  the  leading 
woman's  part  in  the  American 
productions  of  "Liberty  Hall," 
"The  Younger  Son,"  "The  Coun- 
cilor's Wife,"  "Sowing  the  Wind," 
"Gudgeons,"  "The  Masqueraders," 
"John-a-Dreams,"  "The  Impor- 
tance of  Being  Earnest,"  "Michael 
and  His  Lost  Angel,"  "A  Woman's 
Reason,"  "Marriage,"  "Bohemia," 
"The  Highwayman,"  "Under  the 
Red  Robe,"  "A  Man  and  His 
Wife,"  and  "The  Conquerors." 

In  1898  she  made  her  stellar  debut 
as  Glory  Quayle  in  Hall  Caine's 
"The  Christian."  Since  then  she 
has  acted  Dolores  in  Marion  Craw- 
ford's "In  the  Palace  of  the  King," 
Julia  in  Sheridan  Knowles's  "The 
Hunchback,"  Roma  in  Hall  Caine's 
"The  Eternal  City,"  Viola  in 
"Twelfth  Night,"  Imogen  in  "Cym- 
beline,"  Hermione  and  Perdita  in 
"The  Winter's  Tale,"  Mistress 
Betty  in  Clyde  Fitch's  "The  Toast  of 
the  Town,"  in  "Irene  Wycherley," 
Rosalind  in  "As  You  Like  It"  and  in 
Marion  Crawford's  "The  White 
Sister."  Miss  Allen  has  never 
played  any  other  than  the  leading 
woman's  or  the  star  part. 


IN  "THE  MUSKETEERS" 


•ALTHOUGH  James 
O'Neill  is  one  of  the 
most  admired  and 
forceful  actors  of  ma- 
ture  parts  on  the 
^American  stage  to- 
day and  he  is  best  known  to  this 
generation  for  his  many  perfor- 
mances of  "Monte  Cristo,"  his  be- 
ginnings were  at  the  elbow  of  the 
giants  of  the  classic  period  of  our 
theatre's  history,  and  the  variety 
and  prominence  of  his  own  accom- 
plishments in  his  prime  furnish  one 
of  the  inspiring  records  in  that 
same  history. 

Mr.  O'Neill  was  born  in  Kil- 
kenny, Ireland,  in  1849.  He  was 
brought  across  the  Atlantic  when 
young  and  during  the  Civil  War  he 
sold  uniforms  in  his  brother-in-law's 
store  in  Norfolk,  Virginia.  His 
desire  to  become  an  actor  was  fired 
by  the  wartime  performances  he 
saw  at  the  old  theatre  in  the  Vir- 
ginia seaport.  In  those  days  the 
great  stars  traveled  alone  and 
played  with  stock  companies  in  the 
principal  cities.  Mr.  O'Neill  first 
acted  with  one  of  these  companies 
at  the  National  Theatre  in  Cincin- 
nati, then  with  Ford's  in  Baltimore, 


MR,  JAME5    O'NEILL 

and  with  McVicker's  in  Chicago  as 
leading  man  at  twenty-three.  Dur- 
ing these  engagements  he  supported 
Charlotte  Cushman,  Edwin  Forrest, 
Edwin  Booth  and  Adelaide  Neilson 
who  said  he  was  the  best  Romeo 
she  had  ever  had.  His  next  move 
was  to  Hooley's  Theatre,  in  the 
same  city,  as  a  stock  star  and  thence 
direct  to  San  Francisco  where,  at 
the  Baldwin,  he  was  for  three  years 
the  most  admired  actor  in  the  city. 
Here,  much  against  his  will,  he 
participated  in  one  of  the  turbulent 
sensations  of  stage  history.  The 
Passion  Play  was  produced  and  he 
was  persuaded  to  play  the  part  of 
Christ.  For  this  the  whole  country 
was  aroused  and  he  was  imprisoned. 
"He  was  released  shortly  and  fined 
fifty  dollars  "for  a  misdemeanor" 
and  Henry  E.  Abbey  engaged  him 
to  come  to  New  York  and  act  the 
same  role.  But  public  protests  pre- 
vented and  instead  Mr.  O'Neill  en- 
tered upon  a  three  years'  stay  at  A. 
M.  Palmer's  Union  Square  Theatre 
in  leading  parts.  The  fame  of  this 
theatre  was  then  at  its  height.  Mr. 
O'Neill  made  his  debut  there  in  a 
revival  of  "The  Two  Orphans,"  Oc- 
tober 2,  1876.  Among  the  roles  he 


IS  "THE  MANXMAN" 


created  were  Maurice  in  "Miss 
Moulton,  '  with  Clara  Morris,  and 
Vladimir  in  "The  Danicheffs."  As 
early  as  April  21, 1875.  when  a  stock 
star  at  Hooley's  Theatre  in  Chicago, 
he  acted  the  leading  role  inFechter's 
version  of  Dumas's  "The  Count  of 
Monte  Cristo"  and  in  1883  ne 
acted  it  again  in  San  Francisco  with 
only  three  rehearsals.  The  critics 
damned  it,  but  he  later  rehearsed  it 
carefully  and  produced  it  in  such  a 
way  as  to  make  it  the  extraordinary 
success  it  has  been.  No  American 
actor  has  played  one  role  oftener 
than  James  O'Neill  has  played  Ed- 
mond  Dantes  unless  Joseph  Jeffer- 
son rivaled  his  record  with  Rip 
Van  Winkle. 

Mr.  O'Neill's  later  efforts  have 
all  been  in  the  way  of  releasing  him- 
self from  the  demand  for  this  char- 
acter and  he  has  given  many  fine 
and  interesting  performances,  nota- 
bly D'Artagnan  in  "The  Muske- 
teers," in  "The  Manxman,"  "Brig- 
adier Gerard,"and"Virginius."  His 
latest  performance  is  in  support  of 
Viola  Allen  in  Marion  Crawford's 
"The  White  Sister,"  as  Monsignore 
Saracinnesca,  which  reveals  a  beau- 
tiful and  ripened  art. 


I5P 


Mi«  OLIVE 


IN  "THE  MAN  FROM  HOME 


I  WYNDHAM 
is  one  of  the  youngest 
players  in  a  leading 
position  on  the  stage 
to-day,  and  her  career 
correspondingly 
brief.  But  what  she  lacks  in  ex- 
perience she  supplies  in  a  girlish 
but  patrician  beauty,  winsome  per- 
sonality, and  a  definite  talent  for 
such  roles  as  she  has  played. 

Miss  Wyndham  was  born  in  Chi- 
cago and  was  educated  there. 
When  a  mere  child  she  showed  a 
special  gift  for  imitations  and  at 
one  time  she  repeated  Vesta  Tilley's 
whole  repertoire  of  songs  in  a  man- 
ner that  left  little  to  choose  between 
the  gifted  original  and  the  clever 
imitator.  She  met  Margaret  An- 
glin  and  other  celebrated  players  in 
her  own  home  and,  when  she  and 
her  sister  had  finished  their  studies, 
they  both  decided  to  adopt  a  career 
on  the  stage.  Janet  Beecher  is  the 
name  assumed  by  her  sister. 

Miss  Wyndham 's  first  profes- 
sional appearance  was  with  Kyrle 
Bellew  in  a  small  part  in  "Raffles." 
From  this  she  stepped  at  once  into 
a  leading  part  as  Ethel  Granger- 
Simpson  in  Booth  Tarkington  and 
Harry  L.  Wilson's  "The  Man  From 
Home,"  which  she  created  at  the 
Studebaker  Theatre,  Chicago,  in 
1908.  She  played  this  part  until 
the  termination  of  the  long  New 
York  run  and  then  went  to  The 
New  Theatre.  In  that  company  her 
first  parts  were  the  Princess  Pris- 
cilla  in  the  production  of  "The 
Cottage  in  the  Air,"  and  Maria  in 
the  revival  of  Sheridan's  "School 
for  Scandal." 


WYNDHAM 


IN  "A  COTTAGE  IN  THE  AIR' 


rLEW    FIELDS 


name  of  Lew 
Fields  immediately 
suggests  the  name  of 
Joe  Weber,  for  they 
were  partners  for 
twenty -seven  years 
and  the  public  knew  no  separate 
identity  of  the  famous  comedy  team 
of  Weber  and  Fields.  They  were 
both  born  on  the  East  Side  in  Xew 
York  city  and  attended  the  public 
schools  there.  In  1877,  while  still 
in  their  teens,  they  formed  a  part- 
nership and  appeared  together  on 
the  variety  stages  of  the  East  Side. 
Fields  was  "the  tall  one"  and 
Weber  "the  little  one"  and  as  the 
"Dutch  Senators"  they  were  cele- 
brated for  their  dialect  comedy. 
Eight  years  later  they  formed  a 
company  of  their  own  and  for 
eleven  years  toured  the  country  at 
its  head. 

In  1896  they  leased  a  small  music 
hall  on  Twenty-ninth  Street,  built 
a  Broadway  entrance,  renamed  it 
Weber  and  Fields's  Broadway 
Music  Hall  and  began  to  give  a 
series  of  burlesques  on  current  the- 
atrical attractions,  which  prospered 
instantly  and  continuously  for  eight 
years.  The  company  was  made  up 
of  the  most  gifted  burlesque  and 
comic  opera  favorites  of  the  period. 
In  the  initial  cast  were  Sam 
Bernard,  Ross  and  Fenton,  John 
T.  Kelly,  Yolande  Wallace,  and 
Frankie  Bailey.  David  Warfield, 
DeWolf  Hopper,  Willie  Collier, 
"Pete"  Dailey,  Louis  Mann,  Fay 
Templeton,  Lillian  Russell,  Lulu 
Glaser,  William  Hodge,  and  May 
Irwin  were  all  members  of  the 
company,  some  of  them  for  many 
seasons  in  succession.  The  se- 
quence of  their  principal  burlesques 
was  "Pousse  Cafe,"  "Hurly  Burly," 
"Whirl-I-Gig,"  "Fiddle-Dee-Dee," 
"Hoity-Toity,"  "Twirly  Whirly," 
and  "Whoop-de-Doo."  The  pieces 
were  chiefly  written  by  Edgar 
Smith,  the  music  by  John  Strom- 
berg,  and  they  were  staged  by 
Julian  Mitchell. 

The  partnership  was  dissolved  in 
1904.  Mr.  Weber  continued  to 
play  in  the  same  house,  renamed 
Weber's  Theatre.  Mr.  Fields 
opened  Fields's  Theatre,  now  the 
Hackett,  and  appeared  as  a  star  in 
"It  Happened  in  Nordland."  He 
has  since  leased  the  Herald  Square 
Theatre  and  his  engagements  have 
been  played  there  in  "About 
Town,"  "The  Girl  Behind  the 
Counter"  and  "Old  Dutch." 


IN  "THE  BEAUTY  SPOT" 


ARGUERITE 
CLARK  is  one  of 
the  promising  young 
actresses    for    whom 
her    admirers    enter- 
tain   high    hopes    on 
the  plane  of  dainty,  light,  popular 
comedy.    There  is  not  a  great  deal 
of  this  young  lady  in  inches,  but 
she  enjoys   an   uncommonly    large 
share    of    beauty,    girlish    charm, 
grace   and   personality.      Her    first 
venture    as    a    star    did    not    give 
her   the   opportunity   necessary    to 
achieve  a  permanent  position,  but 
there  will  no  doubt  be  other  oppor- 
tunities. 

Miss  Clark  is  a  Cincinnati  girl. 
Her  first  experience  on  the  stage 
was  in  the  chorus  of  the  Strakosch 
Opera  Company  while  that  organi- 
zation was  playing  a  repertoire  of 
standard  light  opera  in  Baltimore. 
Other  engagements  in  stock  opera 
companies  followed  until  she  won 
the  chance  to  understudy  Irene 
Bentley  in  "The  Belle  of  Bohemia." 
After  that  one  performance  roles 
of  slowly  increasing  importance 


MAR.GUER.1TE  CLAUK 


were  given  her  in  "The  Burgo- 
master," in  Dan  Daly's  support  in 
"The  New  Yorkers"  and  in  "The 
Wild  Rose." 

Her  first  real  prominence,  how- 
ever, was  gained  in  De  Wolf  Hop- 
per's support  as  Polly  in  "Mr. 
Pickwick,"  which  she  sang,  danced 
and  acted  more  daintily  and  grace- 
fully than  the  stage  had  known  in 
a  long  time  before.  After  brief 
experiences  as  Contrary  Mary  in 
"Babes  in Toyland"  and  as  Mataya, 
the  white-flanneled  Crown  Prince 
in  a  revival  of  "Wang,"  she  created 
Sylvia  in  "Happyland,"  accent- 
ing previous  pleasant  impressions. 
When  Mr.  Hopper  produced  "The 
Pied  Piper"  she  was  Elvira,  and  in 
"The  Beauty  Spot"  during  the  win- 
ter of  1908  she  played  Nadine.  In 
the  fall  of  1909  she  was  put  for- 
ward as  a  star  in  "The  Wishing 
Ring,"  a  comedy  without  music,  for 
which  she  prepared  herself  in  a 
measure  during  the  preceding  sum- 
mer in  leading  girl  parts  in  a 
dramatic  stock  company  in  St. 
Louis. 


IN  "WHEN  KNIGHTHOOD  WAS  IN  FLOWER 

Photograph 
by 


BARBARA  FRIETCHIE 


JULIA    MAP^LOWL 


*f  ULIA    MARLOWE 
has    played    a    varied 
,  list  of  characters,  but 
her  fame  rests  on  her 
beautiful     impersona- 
tions of  the  heroines 
of    romance    and    the    women    of 
Shakespeare.    While  she  has  acted 
Parthenia,  Juliet,  and  Ophelia  she 
has  been  without  a  peer  in  these 
roles. 

Miss  Marlowe  was  born  Sarah 
Frances  Frost,  at  Calclbeck,  Eng- 
land. She  came  to  America  with 
her  parents  when  a  young  girl,  in 
1875,  ar|d  studied  in  Cincinnati  and 
Kansas  City  schools.  Her  first  pro- 
fessional appearance  was  made  at 
Ironton,  Ohio,  in  1882,  as  a  sailor 
in  "H.  M.  S.  Pinafore"  in  one  of 
the  juvenile  opera  companies  which 
were  at  that  time  the  vogue.  She 
was  soon  promoted  to  the  role  of 
Sir  Joseph  Porter  and  leading  roles 
in  other  operas.  After  a  brief  ex- 
perience in  support  of  Robert  Mc- 


Wade  she  came  under  the  instruc- 
tion of  Ada  Dow  and  made  her  first 
appearance  as  a  star  as  Parthenia, 
at  Bayonne,  N.  J..  in  1887.  Her 
talent,  charm  and  beauty  were  at 
once  recognized  and  she  quickly 
grew  into  the  affection  of  the  whole 
country. 

The  list  of  Miss  Marlowe's  char- 
acters is  notable  and  includes 
Pauline  in  "The  Lady  of  Lyons," 
Constance  in  "The  Love  Chase," 
Viola  in  "Twelfth  Night,"  Rosa- 
lind in  "As  You  Like  It,"  Julia  in 
"The  Hunchback,"  Galatea,  Imogen 
in  "Cymbeline,"  Charles  Hart  in 
"Rogues  and  Vagabonds,"  Juliet, 
Kate  Hardcastle  in  "She  Stoops 
To  Conquer,"  Prince  Hal  in  "King 
Henry  IV."  (part  i.),  Mary  in  "For 
Bonnie  Prince  Charlie,"  Lydia 
Languish  in  "The  Rivals,"  "Chat- 
terton,"  "Countess  Valeska,"  "Col- 
inette,"  "Barbara  Frietchie,"  Mary 
Tudor  in  "When  Knighthood  Was 
In  Flower,"  Charlotte  in  "The 


Cavalier,"  "Queen  Fiametta,"  Lady 
Bancaster  in  "Fools  of  Nature," 
Beatrice  in  "Much  Ado  About 
Nothing,"  Ophelia  in  "Hamlet," 
Katherine  in  "The  Taming  of  the 
Shrew,"  Portia  in  "The  Merchant 
of  Venice,"  "Jeanne  d'Arc,"  Rau- 
tendelein  in  "The  Sunken  Bell," 
Salome  in  "John  the  Baptist," 
"Gloria,"  Yvette  in  "The  Goddess 
of  Reason,"  and  Cleopatra  in 
"Antony  and  Cleopatra." 

Miss  Marlowe  was  married  in 
May,  1894,  to  the  late  Robert 
Taber,  at  the  time  her  leading  man, 
and  for  a  brief  period  she  was 
known  professionally  as  Julia  Mar- 
lowe Taber.  In  the  autumn  of  1904 
she  became  a  co-star  with  E.  H. 
Sothern  and  since  that  time  they 
have  acted  together  almost  continu- 
ously. When  the  New  Theatre  was 
dedicated  in  November,  1909,  Miss 
Marlowe  was  a  guest  player  and 
acted  Cleopatra  in  the  initial  pro- 
duction. 


i  s  s 


JULIA  MALLOW      E 


IN   "TWELFTH  NIGHT" 
Copyright  189!  by  B.  3.  Falk 


IN  "THE  GODDESS  OF  REASON' 


II 


Copyright  1S98  by  A.  Dupont 


WHEN  KNIGHTS  WEKE  BOLD" 


MIV.  FRANCIS     WILJON 


FRANCIS  WILSON, 

'  after  a  long  career  on 
,  the  stage  identified 
intimately  with  low 
•  comedy  tactics  in 
comic  opera,  demon- 
strated that  it  is  possible  for  an 
actor  with  the  native  gifts,  deter- 
mination and  zeal,  to  raise  himself 
to  popularity  on  the  plane  of  more 
legitimate  comedy  without  music  or 
song  or  the  alluring  support  of  a 
chorus  of  beauties.  He  demon- 
strated this  by  doing  it. 

For  five  years  Mr.  Wilson  has 
been  a  successful  star  in  straight 
light  comedy.  Before  then  he  was 
a  leading  and  then  a  star  comedian 
in  comic  opera  for  twenty-two 
years.  His  first  efforts  were  in 
small  character  comedy  parts  in 
the  stock  company  at  the  Chest- 
nut Street  Theatre,  Philadelphia, 
where  he  made  his  first  appearance 
on  the  stage,  in  1878,  in  a  perform- 
ance of  "London  Assurance/'  He 
was  born  in  the  same  city  in  Feb- 
ruary 1854.  He  made  his  debut  in 
Xew  York  in  1880  in  "Our  Gob- 
lins." His  next  parts  were  Sam 
Gerridge  in  "Caste/'  Sergeant  in 
"Ours"'  and  Sir  Joseph  Porter  in 
"H.  M.  S.  Pinafore."  His  success 
as  the  First  Lord  of  the  Admiralty 
sealed  his  future  for  over  twenty 
years.  Comic  opera  claimed  him, 
and  he  was  unsurpassed  in  his  pop- 
ularity during  this  time. 

The   list   of   the    productions    in 


which  Mr.  Wilson's  fun  was  ex- 
ploited recalls  some  of  the  merriest 
moments  in  the  theatre.  At  first 
he  was  a  member  of  the  companies, 
for  the  greater  part  of  the  time  at 
the  Casino,  which  produced  "The 
Queen's  Lace  Handkerchief,"  "The 
Princess  of  Trebizonde,"  "Prince 
Methusalem,''  "Nanon."'  "Amo- 
rita,"  "The  Gypsy  Baron,"  "Er- 
minie,"  in  which  his  Cadeaux  or 
"Caddy"  became  a  comic  opera 
classic;  and  then  headed  his  own 
company  in  "The  Oolah,"  "The 
Merry  Monarch,"  "The  Lion 
Tamer,"  "The  Devil's  Deputy," 
"The  Chieftain,"  "Half  a  King," 
"The  Little  Corporal,"  "Cyrano  de 
Bergerac,"  "The  Monks  of  Mala- 
bar," "The  Strollers,"  and  "The 
Toreador."  During  this  time,  in 
the  spring  of  1896,  he  acted  David 
in  Joseph  Jefferson's  all-star  re- 
vival of  "The  Rivals." 

Mr.  Wilson  abandoned  comic 
opera  in  1905,  when  he  acted 
"Cousin  Billy,"  though  he  contin- 
ued to  star.  His  roles  since  have 
been  Pere  Marlotte  in  "The  Little 
Father  of  the  Wilderness."  Mon- 
tague Sibsey  in  "The  Mountain 
Climber,"  Sir  Guy  de  Vere  in 
"When  Knights  Were  Bold,"  and 
Tom  Beach  in  his  own  comedy 
"The  Bachelor's  Baby."  Mr.  Wil- 
son is  the  author  of  "The  Eugene 
Field  I  Knew,"  "Recollections  of 
a  Fellow  Player"  (Joseph  Jeffer- 
son), and  several  comedies. 


WHEN  KNIGHTS  WERE  BOLD" 


It.  F  P^A  N  C  I  5     WILSON 


lii  x 

X 


Miss 

B  LA  N  C  H  E 


WALS  H 


DT> 


M 


S&ISS  BLANCHE 
WALSH'S  associa- 
,  tion  with  the  profes- 
sional stage  dates 
from  her  sixteenth 
^year  and  she  has 
acted  roles  of  steadily  increasing 
importance  and  matured  her  tech- 
nique with  skillful  improvement 
until  she  has  fixed  herself  as  a  stel- 
lar actress  of  power  and  worth. 

Miss  Walsh  was  born  in  New 
York  City  in  1873  ar|d  made  her 
professional  debut  there  in  1889  in 
a  small  part  in  "Siberia."  She  was 
immediately  engaged  for  leading 
parts  by  Marie  Wainwright,  who 
at  the  time  was  playing  a  somewhat 
extensive  repertoire,  and  in  her  first 
year  on  the  stage  played  Queen 


Elizabeth  in  "Amy  Robsart,"  Olivia 
in  "Twelfth  Night,"  Grace  Hark- 
away  in  "London  Assurance,"  and 
Madeline  in  "Frederic  Lemaitre.'' 
Her  first  really  notable  hit  was 
as  Diana  Stockton,  of  which  she 
was  the  original,  in  Bronson  How- 
ard's "Aristocracy."  She  soon  be- 
came Nat  Goodwin's  leading  lady 
and  in  1895  created  Mrs.  Bulford 
in  "The  Great  Diamond  Robbery"; 
succeeded  Virginia  Harned  as 
"Trilby"  during  the  run  of  that 
play  at  the  Garden  Theatre,  accom- 
panied Nat  Goodwin  to  Australia 
in  1896,  played  Edith  Varney  with 
William  Gillette  in  "Secret  Ser- 
vice," in  London ;  acted  Helen  Le 
Grand  when  Sol  Smith  Russell  pro- 
duced "A  Bachelor's  Romance,"  at 

Hill  Mllll 


the  Garden  Theatre  in  1897,  and 
created  Jeanne  in  "The  Conquer- 
ors," at  the  Empire  in  1898. 

Miss  Walsh  began  to  star  on  tour 
that  same  year  and  for  some  time 
made  a  specialty  of  the  Sardou  rep- 
ertoire, acting  in  "La  Tosca,"  "Fe- 
dora," "Cleopatra,"  and  "Gismon- 
da."  Long  tours  and  varied  experi- 
ments with  new  plays  followed  until 
1903,  when  she  created  Katusha  in 
"Resurrection"  and  her  subtle,  fin- 
ished, highly  characterized  perform- 
ance of  this  part  brought  her  to  a 
position  she  has  since  maintained 
with  other  fine  creations.  Her  plays 
here  have  been  "The  Kreutzer 
Sonata,  '  "A  Woman  in  the  Case," 
Clyde  Fitch's  "The  Straight  Road," 
and  Jules  E.  Goodman's  "The  Test." 


••••'•••I 


BLANCHE  WALSH 


IN  "RESURRECTION" 


IN  "  LA  TOSCA 


IN  "GISMONDA" 
Copyright  I89»  by  J.  Schlo« 


MERCUTIO  IN 
'ROMEO  AND  JULIET  ' 


MR  JAMES  K   JACKET 


CHARLES  STUART 

IN   "THE    FORTUNES 

OF  THE  KING  " 


IN  "DOM  CESAR'S 
RETURV" 


STEPHEN  KRICE  IN  "THE  CRISIS" 


JOHN  ERMINE 


-Hf  AMES  K.  HACK- 
'  ETT,  the  son  of 
,  James  H.  Hackett, 
the  celebrated  Falstaff 
;of  his  time,  was  born 
i  Wolfe  Island,  On- 
tario, September  6,  1869.  While  a 
student  of  the  College  of  the  City 
of  New  York,  he  was  the  leading 
spirit  in  student  theatricals.  He 
was  graduated  in  1891,  and  studied 
law,  but  after  a  year  he  decided 
on  the  theatre  as  a  career. 

His  first  professional  appearance 
was  made  in  Philadelphia,  in 
March,  1892,  as  Francois  in  "The 
Broken  Seal,"  and,  after  a  variety  of 
experiences,  including  a  season  as 
leading  man  for  Lotta,  and  another 
in  Augustin  Daly's  company,  he 
made  two  successes  as  de  Neipperg 
in  "Madame  Sans-Gene"  at  the 
Broadway  Theatre,  and  as  Count 
de  Charney  in  "The  Queen's 
Necklace"  with  Mrs.  Potter  at 
Daly's  in  November  the  same  year. 
This  opened  the  way  for  his 
later  career  of  activities  as  leading 
man,  star  and  manager.  He  went 
to  the  Lyceum  in  1895,  and,  on 
Mr.  Kelcey's  resignation  in  1896, 
he  became  leading  man  of  the  com- 
pany. He  acted  the  leading  roles 
in  "The  Home  Secretary,"  a  re- 


vival  of  "The  Prisoner  of  Zenda," 
"The  Marriage  of  Leonie,"  "The 
Late  Mr.  Costello,"  "The  Wife  of 
Willoughby,"  "The  First  Gentle- 
man of  Europe,"  "The  Mayflower," 
"The  Princess  and  the  Butterfly," 
"The  Tree  of  Knowledge,"  and 
"Rupert  of  Hentzau."  Mr.  Hackett 
also  acted  Romeo  to  Olga  Nether- 
sole's  Juliet,  and  Mercutio  to 
Maude  Adams's  Juliet. 

In  March,  1900,  he  made  his 
debut  as  a  star  at  the  Criterion 
Theatre  as  Jennico  in  "The  Pride 
of  Jennico,"  and  has  since  ap- 
peared at  the  head  of  his  own 
company  as  Don  Caesar  de  Bazan 
in  "Don  Caesar's  Return,"  in  "A 
Chance  Ambassador,"  as  Stephen 
Brice  in  "The  Crisis,"  as  John 
Ermine  in  "John  Ermine  of  the 
Yellowstone,"  Prince  Robert  in 
"The  Crown  Prince,"  Charles 
Stuart  in  "The  Fortunes  of  the 
King,"  Victor  in  "The  House  of 
Silence,"  Jack  Frobisher  in  "The 
Walls  of  Jericho,"  as  John  Glayde 
in  "John  Glayde's  Honor,"  and  as 
Maurice  Brachard  in  "Samson." 

In  addition  to  acting  and  manag- 
ing his  own  company,  he  has  pro- 
duced several  plays,  and  is  the  lessee 
of  the  Hackett  Theatre,  in  New 
York  Citv. 


UUll 


111 


IN"  "  KITTY  GREY 


Miss  JULIA  SANDERSON 

#ULIA  SANDER- 
SON is  one  of  the 
.attractive  leading 
young  women  of  mu- 
sical comedy  whose 
"name  in  the  cast 
means  a  beautiful,  graceful  and  at- 
tractive girl  on  the  stage.  She  has 
been  before  the  public  only  a  few 
years,  which  seem  fewer  since  Lon- 
don has  known  her,  for  her  time 
has  been  divided  between  America 
and  England. 

Miss  Sanderson  is  the  daughter 
of  an  actor,  Albert  Sackett,  and 
was  born  in  Springfield,  Mass.  She 
made  her  first  appearance  on  the 
stage  in  child  parts  with  the  Fore- 
paugh  Stock  Company  of  Philadel- 
phia and  remained  in  that  organiza- 
tion for  five  years. 

That  was  her  last  association 
with  drama.  She  next  joined  the 
chorus  of  "Winsome  Winnie" 
where  her  pretty  face  and  graceful 
ways  attracted  immediate  attention 
and  she  was  cast  for  a  speaking 
part  in  "The  Chinese  Honeymoon." 
For  a  season  she  played  Mataya, 
the  Crown  Prince  of  Siam,  in  De 
Wolf  Hopper's  revival  of  "Wang," 
then  became  immensely  popular 
during  the  runs  of  "Fantana"  and 
"The  Tourists,"  and  for  a  while 
sought  the  diversity  of  vaudeville. 

When  she  returned  to  musical 
comedy  in  1907  it  was  under 
Charles  Frohman's  management. 
He  almost  immediately  presented 
her  to  London  audiences,  with  whom 
she  repeated  her  American  success. 
Since  then  she  has  played  at  the 
head  of  Mr.  Frohman's  musical  com- 
panies on  both  sides  of  the  Atlantic. 
Her  conspicuous  successes  have  been 
made  in  "The  Dairymaids,"  "The 
Honorable  Phil,"  "Kitty  Grey," 
and  "The  Arcadians." 


MISS     ADA     REHAN 


!*••••• 


PORTIA 
Copyright  1898  by  A.  Dupont 


PORTIA 
Copyright  1898  by  A.  Diipont 


8  ?*~ 


REHAN  is  of 
the  line  of  Gwynne, 
Woffington,  Oldfield, 
Nisbet  and  Terry.  At- 
tached to  her  long 
"""^reign  at  Daly's  are 
some  of  the  rarest  memories  of  the 
American  stage.  No  one  of  that 
time  equalled  her  as  Katherine, 
the  Shrew,  or  Rosalind,  and  she 
was  not  surpassed  as  the  hero- 
ines of  old  comedy  or  the  gay  spir- 
its of  modern  farce.  She  has  acted 
little  of  recent  years,  but  the  theatre 
is  richer  for  the  hope  that  she  may 
at  any  time  return  to  disclose  again 
that  rarest  of  arts — true  high 
comedy. 

Miss  Rehan  was  born  in  Lim- 
erick, Ireland,  and  was  brought  to 
America  when  five  years  old  with 
her  brother,  Arthur,  and  her  two 
sisters,  Kate  and  Harriett,  who 
afterwards  became  known  as  Mrs. 
Oliver  Doud  Byron  and  Hattie 
Russell.  She  followed  her  two 
sisters  on  the  stage,  making  her 


first  appearance  in  the  company  of 
her  brother-in-law,  Mr.  Byron,  as 
Clara  in  "Across  the  Continent,''  at 
Newark,  N.  J.,  in  1874.  Her  early 
engagements  were  in  the  stock 
companies  in  John  Drew's  Arch 
Street  Theatre  in  Philadelphia,  and 
in  Louisville,  Albany  and  Balti- 
more. 

When,  in  1879,  Augustin  Daly 
opened  the  theatre  which  still  bears 
his  name,  Miss  Rehan  became  the 
leading  woman  of  his  company  and 
held  her  position  until  his  death 
twenty  years  later.  On  this  stage 
she  played  over  200  roles.  These 
included  Katherine  in  Shakespeare's 
"The  Taming  of  the  Shrew,"  Rosa- 
lind in  "As  You  Like  It,"  Mistress 
Ford  in  "The  Merry  Wives  of 
Windsor,"  Viola  in  "Twelfth 
Night,"  Portia  in  "The  Merchant 
of  Venice,"  Beatrice  in  "Much  Ado 
About  Nothing,"  Helena  in  "A 
Midsummer-Night's  Dream,"  Julia 
in  "The Two  Gentlemen  of  Verona" 
and  Miranda  in  "The  Tempest."  She 


created  leading  roles  in  Mr.  Daly's 
long  series  of  farces  from  the 
French  and  German,  and  was  a  fas- 
cinating embodiment  of  Lady 
Teazle  in  "The  School  for  Scandal," 
Peggy  Thrift  in  "A  Country  Girl," 
Sylvia  in  "The  Recruiting  Officer," 
Lady  Gay  Spanker  in  "London  As- 
surance," Julia  in  "The  Hunch- 
back," Letitia  Hardy  in  "The 
Belle's  Stratagem,"  Donna  Volante 
in  "The  Wonder"  and  of  other 
heroines  of  old  comedies. 

Since  Mr.  Daly's  death  she  has 
emerged  from  her  retirement  twice, 
on  one  occasion  to  play  Nell  Gwynne 
in  Paul  Kester's  comedy,  "Sweet 
Nell  of  Old  Drury,"  and  on  another 
occasion  to  star  with  Otis  Skinner 
in  Shakespearian  comedies.  Under 
Mr.  Daly's  management  Miss  Re- 
han acted  in  Paris,  Berlin,  Ham- 
burg, London,  Edinburgh,  Dublin, 
Stratford-on-Avon  and  throughout 
Great  Britain,  with  a  distinction  and 
acclaim  unapproached  by  any  other 
American  actress  before  or  since. 


REHAN 


MISS  ADA 


DONNA  VOLANTE  IN  "THE  WONDER" 
Copyright  1897  by  A.  Dupf>nt 


IN  "THE  HONORABLE 

JOHN  GRIGSBY  " 
Copyright  liy  A.  Dnpont 


IN   -'THE  WARRENS  OF  VIRGINIA" 


KEENAN 


^ 


"$  RANK  KEEN  AN 
was  born  in  Maine, 
,  he  grew  up  in  Iowa, 
was  a  clerk  in  Bos- 
ton,  owned  a  cigar 
store,  tried  amateur 
acting  and  finally  made  his  first  ap- 
pearance on  the  professional  stage 
at  Richmond,  in  his  native  State, 
playing  Archibald  Carlyle  in  "East 
Lynne"  for  the  munificent  salary 
of  nine  dollars  a  week. 

Hard,  happy  years  of  develop- 
ment followed  in  New  England 
touring  repertoire  companies,  in 
which  the  plays  ranged  from  "Vir- 
ginius"  to  a  farce,  and  then  he  came 
under  the  direction  of  James  A. 
Herne,  who  gave  his  talents  their 
proper  direction.  For  a  year  he 
played  one  of  the  leading  parts  in 
"McKenna's  Flirtation."  Securing 
a  place  in  the  company  at  the  Bos- 
ton Museum,  he  acted  several  prom- 
inent character  parts  there,  then 
created  Brother  Paul  in  Viola 
Allen's  production  of  "The  Chris- 
tian,'' and  during  the  later  days  of 
stock  performances  at  the  Pike 
Opera  House,  Cincinnati,  he  was 
stage  director. 

He  left  this  theatre  to  star  on 
long  tours  in  Sol  Smith  Russell's 
characters  in  "The  Poor  Relation," 
"Peaceful  Alley"  and  "The  Honor- 
able John  Grigsby."  The  last  he 
acted  at  the  Manhattan  Theatre,  in 
January,  1902.  Vaudeville  took  him 
for  a  time  and  he  left  it  to  support 
Nance  O'Neil  during  her  first  Bos- 
ton engagement,  playing  Macbeth 
and  other  leading  roles. 

Then  followed  an  ambitious  ex- 
periment, in  the  little  house  of  ex- 
periments, the  Berkeley  Lyceum,  in 
Forty-fourth  Street,  New  York 
City.  Mr.  Keenan  leased  it  and 
acted  a  number  of  serious  one- 
act  plays.  The  enterprise  lasted 
only  a  month,  but  it  revealed  him 
an  artist  of  such  range  and  skill  that 
he  took  his  place  at  once  among  the 
important  actors  on  our  stage.  On 
this  thumb-nail  stage  he  produced 
"The  Threshold,"  "Strolling  Play- 
ers," which  was  a  version  of  "I  Pa- 
gliacci"  ;  "The  System  of  Dr.Tarr," 
"The  Lady  Bookie,"  "The  Lady 
Across  the  Hall,"  and  "The  Pas- 
sion in  the  Suburbs." 

Mr.  Keenan  joined  Blanche  Bates 
for  the  production  of  "The  Girl  of 
the  Golden  West,"  in  which  he 
created  the  sheriff,  Jack  Ranee. 
He  was  equally  successful  as  Gen- 
eral Warren  in  "The  Warrens  of 
Virginia,"  from  which  he  passed 
to  a  stellar  position  in  "On  the 
Heights." 


-•«- 

>.*«     :-••' 


NELL  IN  "THE  LOST 
PARADISE" 


JULIET 


'•  f(B 


MAUDE  ADAM 5 


a  time  when  a 
definite  individuality, 
often  to  the  extent  of 
eccentricity,  seemed 
imperative  for  a  stel- 
!lar  career,  there 
danced  into  a  central  position  on 
the  American  stage  the  elusive, 
girlish,  almost  elfish  personality  of 
Maude  Adams.  While  the  per- 
sonal and  non-professional  life  of 
our  favorites  was  exploited  with 
little  reserve,  her  manager,  Charles 
Frohman,  without  any  apparent 
effort  at  mystery,  screened  this 
side  of  her  life.  The  composite 
effect  has  been  that  of  a  young 
woman,  dignified  almost  to  the 
point  of  distinction  by  a  sane,  per- 
sonal reserve,  and  endearing  her- 
self to  her  public  by  a  constantly 
expanding  gallery  of  charming  and 
often  notable  characterizations. 

Early  in  her  career  Miss  Adams 
won  her  right  to  consideration  by 
a  valuable  apprenticeship  along 
varied  lines.  She  made  her  debut 
in  her  native  Salt  Lake  City,  when 
nine  months  old  as  a  baby  in  arms, 
in  "The  Lost  Child."  As  a  child 
she  also  played  Little  Schneider  in 
"Fritz"  with  J.  K.  Emmet.  Her 
mother  was  an  actress  and  she  was 
acquainted  with  the  stage  from 
babyhood.  She  began  to  play 
young  ladies  about  1888,  which  is 
also  the  year  of  her  first  appear- 
ance in  New  York,  in  "The  Pay- 
master." In  quick  succession  she 
shifted  from  manager  to  manager, 


acting  in  "The  Highest  Bidder," 
"A  Midnight  Bell,"  and  "All  the 
Comforts  of  Home."  In  the  last 
named  engagement,  in  the  fall  of 
1890,  she  found  herself  with  Charles 
F-ohman,  and  she  has  not  since  had 
any  other  manager.  After  incon- 
spicuous roles  in  "Men  and  Women" 
and  "The  Lost  Paradise,"  she  be- 
came John  Drew's  leading  woman, 
appearing  first  with  him  in  Palm- 
er's Theatre,  October  3,  1892,  as 
Suzanne  in  "The  Masked  Ball," 
and  afterwards  in  "Butterflies," 
"The  Bauble  Shop,"  "That  Im- 
prudent Young  Couple,"  "Christo- 
pher, Jun.,"  "Rosemary"  and  "Too 
Happy  by  Half.'' 

It  was  her  winsome  and  irresisti- 
ble performance  of  Dorothy  in 
"Rosemary"  which  won  her  stellar 
consideration,  and  great  indeed 
was  the  favor  extended  her  as 
Lady  Babbie  in  J.  M.  Barrie's 
"The  Little  Minister,"  played  first 
in  Washington  in  the  autumn  of 
1897.  The  subsequent  record  is  one 
of  a  large  percentage  of  successes 
and  a  steady  growth  "in  popular 
affection  until  Maude  Adams  is 
probably  the  most  loved  of  the 
public  favorites.  The  definitive  list 
includes  Juliet;  Rostand's  "L'Ai- 
glon  ;"  "Quality  Street,"  her  second 
Barrie  play ;  "The  Pretty  Sister  of 
Jose";  "''Op  o'  Me '  Thumb" ; 
"Peter  Pan,"  her  third  Barrie  play; 
"The  Jesters" ;  and  "What  Every 
Woman  Knows,"  the  faithful  Bar- 
rie's fourth  play  for  Miss  Adams. 


SUZANNE  BLO.XDET  IN 
"THE  MASKED  BALL" 


00: 


IN   "THE  LITTLE  MINISTER" 


Copyright  ISU9  bj   Cbarlea  Frohuian 


MISS     EFFIE    SHANNON 


a  member  of  the 
old  Lyceum  Theatre 
stock  company  dur- 
ing its  best  days,  Effie 

Shannon  was  the 

°*most  admired  in- 
genue on  the  stage.  Later,  in  the 
same  theatre,  she  made  her  debut  as 
a  star  and  her  charm  and  ability 
have  since  won  sympathetic  admira- 
tion. She  and  Herbert  Kelcey,  as 
co-stars,  are  among  the  most  popu- 
lar players  in  the  country. 

Miss  Shannon  made  her  first  ap- 
pearance on  the  stage  as  a  child  in 
a  crowd  of  supers  in  John  McCul- 
lough's  revival  of  "Coriolanus"  at 
the  Boston  Theatre,  in  the  city  of 
her  birth.  Her  first  speaking  part 
was  little  Eva  in  "Uncle  Tom's 
Cabin. ' '  For  several  years  she  was 
known  as  La  Petite  Shannon.  She 
did  not  escape  the  juvenile  "H.  M. 
S.  Pinafore"  experience,  and  while 
still  a  child  sang  in  the  chorus  of 
one  of  these  companies  for  a  time. 

After  a  variety  of  inconsequen- 
tial parts  in  various  productions, 
she  played  and  made  conspicuous 
successes  of  Rose  Leyburn  in  "Rob- 
ert Elsmere,"  Titania  in  Daly's  pro- 
duction of  "A  Midsummer  Night's 
Dream,"  Jenny  Buckthorn  in  the 
first  production  of  "Shenandoah," 
before  she  joined  the  Lyceum 
company  in  1889.  During  four 
years  at  this  theatre  she  played  the 
leading  ingenue  parts  in  "The 
Charity  Ball,"  "The  Idler," 
"Nerves,"  "The  Open  Gate,"  "The 
Old,  Old  Story,"  "Old  Heads  and 
Young  Hearts,"  "Lady  Bountiful," 
"Squire  Kate,"  "White  Roses," 
"Merry  Gotham,"  "The  Grey 
Mare,"  "Americans  Abroad,"  and 
"The  Guardsman." 

For  several  years  Miss  Shannon 
supported  Rose  Coghlan,  Mrs. 
Langtry,  Olga  Nethersole  and  W. 
H.  Crane.  Herbert  Kelcey  was 
leading  man  at  the  Lyceum  during 
Miss  Shannon's  association  with 
the  company  and  in  1898  they 
joined  forces  again,  this  time  as 
joint  stars,  and  have  remained  to- 
gether at  the  head  of  their  own 
company  since,  to  the  genuine 
delight  of  an  extensive  public. 
They  have  acted  in  "The  Moth 
and  the  Flame,"  "My  Lady 
Dainty,"  "Manon  Lescaut,"  "Her 
Lord  and  Master,"  "Taps,"  "Sher- 
lock Holmes,"  "The  Daughters  of 
Men,"  "The  Lightning  Conductor," 
and  "The  Thief." 


.  t 


1  : 

3! 

3- 

:   ; 
)  : 


-# 


-* * — * — #- 


-*- 


-#- 


M*  I   •*  S 

EFFIE  SHANNON 


H 
it 


IN  "THE  DAUGHTERS  OF  MEN'; 
— * * * *— 


MANON  LESCAUT 


IN  "THE  DEVIL" 
Photograph  by  Frank  C.  Bangs 


MR   GEORGE 


•*!$3MONG  the  actors 
whom  England  has  of 
, recent  years  sent  to 
adorn  the  American 
•  stage  George  Arliss 
»has  won  a  high  place. 
Recognition  came  to  him  immedi- 
ately upon  his  appearance  on  this 
side  of  the  Atlantic,  for  he  brought 
his  art  ripened  and  polished  by  an 
extended  experience. 

Mr.  Arliss  first  disclosed  himself 
to  his  American  admirers  in  1901  as 
Cayley  Brummie  in  "The  Second 
Mrs.  Tanqueray"  and  as  the  Duke 
of  St.  Olpherts  in  "The  Notorious 
Mrs.  Ebbsmith,"  in  support  of  Mrs. 
Patrick  Campbell  on  her  first  visit. 
David  Belasco  engaged  him  to  re- 
main and  the  next  year  he  intensi- 
fied the  impression  of  his  perform- 
ances of  the  Pinero  characters  by 
his  creation  of  the  Japanese  Prime 
Minister,  Zakkuri,  in  John  Luther 
Long  and  David  Belasco's  "The 
Darling  of  the  Gods." 

He  passed,  in  1904,  to  Mrs.  Fiske's 
fine  company  and  with  her  he  re- 
mained until  1908,  playing  the  Mar- 
quis of  Steyne  in  "Becky  Sharp," 
Raoul  Berton  in  McClellan's  "Leah 
Kleschna,"  Count  Choteau  de  Ro- 
han in  Mrs.  Fiske's  one-act  play, 


"The  Rose";  M.  d'Ancelor  in  an- 
other of  her  short  plays,  "The  Eyes 
of  the  Heart" ;  Ulric  Brendel  in 
Ibsen's  "Rosmersholm,"  and  Sir 
William  Cites-Derby  in  Langdon 
Mitchell's  "The  New  York  Idea.'' 

A  stellar  position  was  reached  by 
Mr.  Arliss  in  the  autumn  of  1908 
when  he  appeared  at  the  Belasco 
Theatre  in  one  of  the  several  ver- 
sions of  "The  Devil"  which  were 
epidemic  at  the  moment.  His  per- 
formance carried  the  play  past  the 
transient  interest  at  first  excited  by 
a  spectacular  controversy  and  after 
a  long  run  in  New  York  he  played 
it  on  tour.  In  1909  he  created  the 
title  role  in  "Septimus,"  a  drama- 
tization by  W.  J.  Locke  of  his  own 
novel  "Septimus." 

Mr.  Arliss  was  born  in  London, 
April  10,  1868,  and  his  father  was 
William  Arliss-Andrews,  a  printer 
and  publisher  whose  establishment 
was  within  a  block  of  the  British 
Museum.  His  first  appearance  on 
the  stage  was  made  in  London  at 
the  Elephant  and  Castle  in  1887. 
For  many  years  he  played  all  sorts 
of  parts  in  the  provinces,  arriving 
on  a  first-class  London  stage  only  a 
short  time  before  he  came  with 
Mrs.  Campbell  to  America. 


Ill 


Mi 


ISS 


ELEANOR 


country  has  so 
heartily  and  com- 
pletely  adopted  Elea- 
nor Robson  and  this 
charming  actress  has 
:so  entirely  adopted 
America  that,  if  known,  the  fact  is 
quite  forgotten  that  she  is  an  En- 
glish girl.  Miss  Robson  is  a  Lan- 
cashire lass.  She  was  born  in 
Wigan,  in  North  England,  Decem- 
ber 13,  1880.  Her  mother  is  Madge 
Carr-Cooke,  who  made  so  real  on 
the  stage  that  celebrated  American 
optimist,  Mrs.  Wiggs  of  the  Cab- 
bage Patch.  Her  father  died  when 
she  was  but  five  years  old,  and  her 
mother  brought  her  to  America  and 
placed  her  with  the  Sisters  in  St. 
Peter's  Academy,  Staten  Island. 
When  she  graduated  in  1897,  she 
crossed  the  continent  at  once  to 
join  her  mother,  who  was  a  member 
of  the  Frawley  Stock  Company  at 
the  California  Theatre  in  S*an 
Francisco. 

It   was  probably   inevitable  that 


this  daughter  of  three  generations 
of  artists  should  have  found  herself 
most  at  home  in  the  theatre.  An 
accident,  however,  arranged  her 
debut  for  her.  The  day  she  arrived 
in  San  Francisco,  the  actress  who 
was  cast  for  Marguerite  Knox  in 
"Men and  Women"  was  taken  ill,  and 
the  young  graduate  promptly  agreed 
to  fill  the  breach.  In  two  years  she 
developed  her  talents  in  all  sorts 
of  parts  in  stock  companies  from 
Honolulu  to  Milwaukee  before  she 
really  came  into  her  own  as  Bonita, 
the  ranchman's  daughter,  in  Au- 
gustus Thomas's  "Arizona."  This 
was  first  produced  at  the  Grand 
Opera  House,  Chicago,  August  21, 
1899.  She  revealed  a  rich  beauty, 
a  charmingly  sympathetic  person- 
ality, and  rare  sureness  of  technique 
for  one  so  young.  It  was  in  this 
part  that  she  made  her  New  York 
debut  at  the  Herald  Square  The- 
atre in  the  fall  of  1900.  Disap- 
pointed in  his  effort  to  secure  Julia 
Marlowe  for  a  performance  of 


ROBSON 


Browning's  "In  a  Balcony"  in  con- 
junction with  Otis  Skinner  and 
Mrs.  LeMoyne,  George  C.  Tyler, 
of  Liebler  &  Co.,  gave  the  role  of 
Constance  to  Miss  Robson.  From 
that  time  she  has  known  no  other 
management,  and  her  lovely  per- 
formance of  Constance  marked  her 
for  a  conspicuous  place  among 
American  artists. 

After  creating  leading  roles  in 
"Unleavened  Bread,"  and  "A  Gen- 
tleman of  France,"  she  was  starred 
in  a  dramatization  of  "Audrey, "and 
thereafter  in  Zangwill's  "Merely 
Mary  Ann,"  Fitch's  "The  Girl  Who 
Has  Everything"  ;  Jerome's  "Susan 
in  Search  of  a  Husband"  ;  Zangwill's 
"Nurse  Marjorie" ;  Clo  Graves's  "A 
Tenement  Tragedy" ;  Armstrong's 
"Salomy  Jane,"  and  Mrs.  Burnett's 
"The  Dawn  of  a  To-morrow." 
In  brief  tours  by  "all-star  casts"  she 
has  played  Juliet  and  Kate  Hard- 
castle.  All  she  does  is  character- 
ized by  sincerity,  grace,  charm, 
tenderness,  and  humor. 


ELEANOR    ROBJ'ON 


Mr  JAMES    T   POWERS 


transit  of  James 
T.  Powers  from  mes- 
senger  boy  to  musical 
comedy  star  has  been 
through  a  tea  store ;  a 
minstrel       troupe, 
which    gave    one    performance    in 
Mount   Vernon,    New   York,    after 
which  he  walked  home  ;  knockabout 
singing   and  dancing  in   a   variety 
hall  at  Long  Branch,  New  Jersey; 
the   more    polite    vaudeville;    small 
parts   in   farces  and   comic   opera; 
two  years  in  English  theatres;  and 
long    New    York    engagements    as 
leading  comedian. 

This  chronicle  extended  reveals  a 
steady  growth  in  his  own  work 
through  many  varied  experiences  in 
well-remembered  farces  and  comic 
operas  which  became  popular  large- 
ly owing  to  his  excellent  fun.  After 
the  minstrel  and  variety  days  Mr. 
Powers  joined  a  stock  company  at 
the  Eighth  Street  Theatre  in  New 
York,  the  town  of  his  birth.  A 
year  here  directed  his  talents,  and 
he  began  to  play  parts  in  produc- 
tions. In  1880  he  was  Chip  with 
Willie  Edouin  in  "Dreams,  or  Fun 
in  a  Photograph  Gallery,"  then  the 
Policeman  in  "Evangeline,"  and 
again  with  Edouin  in  "A  Bunch  of 
Keys."  Edouin  took  him  to  Lon- 
don, where  he  played  in  "A  Bunch 
of  Keys,"  in  several  plays  with  the 
Vokes  family,  at  the  Empire  in 
"Chilperic"  and  as  the  Emperor  in 
"Dick  Whittington,"  the  Drury 
Lane  Christmas  pantomime  of  1884. 
He  came  home  and  played  Rats 
in  "A  Tin  Soldier" ;  principal  com- 
edy parts  at  the  Casino  in  "  Made- 
Ion, ""Nadjy,"  "The  Yeoman  of  the 
Guard,"  "The  Drum  Major,''  and 
"Erminie,"  and  starred  for  four 
years  in  "A  Straight  Tip,"  "A  Mad 
Bargain,"  "Walker,  London,"  and 
"The  New  Boy,"  which  were  all 
farces. 

For  five  years,  from  1897  to 
1902,  he  was  leading  comedian  at 
Daly's  Theatre  in  that  popular 
series  of  imported  English  musical 
pieces  which  included  "The  Circus 
Girl,"  "The  Geisha,"  "La  Poupee," 
"A  Runaway  Girl,"  "San  Toy," 
"The  Messenger  Boy,"  "The  Jewel 
of  Asia,"  and  "The  Princess  of 
Kensington."  His  appearances  since 
have  been  in  "The  Medal  and  the 
Maid,"  a  term  in  vaudeville,  and 
as  a  star  in  "The  Blue  Moon,"  and 
"Havana." 


3JJHERE  is  little  that 
is  extraordinary  or 
romantic  on  the  sur- 
face of  Maclyn  Ar- 
L  buckle's  career  on  the 
age.  It  is  the  sim- 
ple story  of  a  man  of  genuine  talent 
wh<>  had  nursed  it  conscientiously 
and  has  risen  little  by  little  to  a 
conspicuous  place  among  sound 
actors  in  naturalistic  comedy. 

Mr.  Arbuckle  is  a  native  of  San 
Antonio,  Texas,  where  he  was  born 
July  9,  1866.  He  studied  in  Glas- 
gow, Scotland,  and  in  Boston,  and 
was  admitted  to  the  bar  in  Texar- 
kana,  Texas.  During  the  first  year 
as  a  lawyer,  however,  his  opportuni- 
ties to  do  other  things  than  practise 
were  rarely  disturbed.  He  devoted 
his  enforced  leisure  to  the  study  of 
Shakespeare  and  became  fired  with 
a  desire  to  go  on  the  stage. 

Every  actor  finds  his  way  to  the 
stage  by  a  different  route.  Arbuckle 
pioneered  his  way  somehow  down  in 
the  northeast  corner  of  Texas  and 
finally  made  his  first  appearance  on 
Christmas  Day,  1888,  with  Pete 
Raker  as  a  German  in  "The  Emi- 
grant." His  succeeding  engage- 
ment was  more  in  harmony  with  his 
ambition,  for  he  joined  R.  D.  Mac- 
Lean  and  for  four  years  acted  only 
Shakespearian  roles. 

In  1892  Charles  Frohman  en- 
gaged him  for  three  years  for  his 
touring  companies,  and  Air.  Ar- 
buckle followed  this  with  a  year  in 
San  Francisco  in  Frawley's  stock 
company.  Here  he  played  many  of 
W.  H.  Crane's  most  popular  char- 
acters. A  season  as  leading  sup- 
port of  Louis  James,  during  which 
he  played  Marc  Antony  in  "Julius 
Caesar,"  was  followed  by  a  tour  in 
"The  Man  From  Mexico."  His 
fortunes  at  this  point  took  a  decided 
turn,  for,  in  1898,  he  went  to  Lon- 
don, where  he  played  Smith,  in 
"Why  Smith  Left  Home,"  with  • 
great  success. 

A  debut  as  a  star  followed  in  De- 
cember, 1900,  when  he  appeared  at 
the  Republic  (now  the  Belasco) 
Theatre  in  a  dramatization  of  Mol- 
lie  Elliott  Sewell's  "The  Sprightly 
Romance  of  Marsac.''  Subsequent 
roles  were  Rockingham  in  "Under 
Two  Flags"  with  Blanche  Bates, 
Antonio  in  Nat  Goodwin's  produc- 
tion of  "The  Merchant  of  Venice," 
Skipper  in  "Skipper  &  Co.,''  and 
Jim  Hackler  in  George  Ade's  "The 
County  •  Chairman."  He  starred 
four  years  in  this  comedy  and  fol- 
lowed it  with  his  amusing  charac- 
terizations of  Slim  Hoover,  the  fat 
man,  in  "The  Round  Up,"  and 
of  Fighting  Hime  Look  in  "The 
Circus  Man." 


V 

9                                                  C 

^ 

Q 

M  R,     M  ACLYN 
ARB  U  OK  LE 

_p 

b                                                 C 

LC 

IN  "WHY  SMITH  LEFT  HOME" 


IN    "THE  COUNTY  CHAIRMAN' 


IN  "THE  ROUND  UP" 


IN   "THE  CIRCUS  MAN' 


., 


IN  "TKSS  OF  THE  D'URBERVII.LES ' 


M 


MADDERN 

FISKE  is  an  actress 
,who  discloses  the 
mental  process  of  the 
characters  she  por- 
^trays.  It  is  not  suffi- 
cient for  her  to  show  what  they  do 
and  say  and  feel,  she  shows  plainly 
their  mental  state  and  activity. 
This  represents,  however,  an  attain- 
ment of  the  third  and  longest  period 
of  an  active  and  varied  career,  dur- 
ing which  she  has  been  a  child  ac- 
tress, a  popular  girl  star  in  senti- 
mental domestic  drama,  and  finally 
one  of  the  most  original  and  power- 
ful emotional  actresses  of  her  time. 
Minnie  Maddern  was  born  in 
New  Orleans,  December  19,  1865, 
of  a  manager  father,  Thomas  W. 
Davey,  and  an  actress  mother,  Liz- 
zie Maddern.  During  the  first  ten 
years  she  was  alternately  at  convent 
schools  in  the  West  and  playing 


I.V  "ROSMERSHOLM  " 


MRS  ~  F1JKE 


I.\   "MARY  OF  MAGUALA" 


child  parts  of  every  description  with 
E.  L.  Davenport,  Mrs.  Scott  Sid- 
dons,  "Fritz"  Emmett,  Barry  Sulli- 
van, Lucille  Western  and  Junius 
Brutus  Booth.  She  sang  Ralph 
Rackstraw  in  Hooley's  Juvenile 
Pinafore  Company  and  created 
scores  of  parts  before  she  became  a 
star  in  her  sixteenth  year. 

Her  most  popular  pieces,  as  a 
youthful  star,  were  "Fogg's  Ferry," 
"Caprice"  and  "In  Spite  of  All." 
In  1890  she  married  Harrison  Grey 
Fiske  and  retired  from  the  stage. 
Her  reappearance  as  Minnie  Mad- 
dern Fiske,  four  years  later,  re- 
vealed an  actress  whose  art  had  in- 
dividualized, no  less  than  matured, 
and  her  list  of  productions  and 
characterizations  is  one  of  the  most 
inspiring  pages  in  the  history  of  the 
American  stage. 

It  includes  the  vehicle  of  her 
return  to  the  stage,  "Hester  Crewe," 
by  her  husband ;  Nora  in  "A  Doll's 
House";  Gilberte  in  "Frou-Frou"; 
"The  Queen  of  Liars,"  later  repro- 
duced as  "Marie  Deloche" ;  "Cesar- 
ine,"  an  English  version  of  "La 
Femme  de  Claude" ;  her  own  "A 
Light  From  St.  Agnes" ;  Tess  in 
"Tess  of  the  D'Urbervilles" ;  Cypri- 
enne  in  "Divorgons"  ;  Saucers  in  "A 
Bit  of  Old  Chelsea" ;  Madeleine  in 
"Love  Finds  the  Way" ;  "Magda" ; 


Giulia  in  "Little  Italy";  "Becky 
Sharp"  ;  "Miranda  of  the  Balcony"  ; 
"The  Unwelcome  Mrs.  Hatch," 
"Mary  of  Magdala" ;  "Hedda  Gab- 
ler";  "Leah  Kleschna";  "Dolce"; 
Cynthia  Karslake  in  "The  New 
York  Idea" ;  Rebecca  West  in  "Ros- 
mersholm" ;  and  Nell  Sanders  in 
"Salvation  Nell." 

Mrs.  Fiske  has  always  been  the 
presiding  genius  of  any  stage  on 
which  she  has  acted,  directing  all 
the  details  of  her  productions.  She 
has  written  much  and  has  made 
many  public  addresses.  Her  acted 
plays,  in  addition  to  "A  Light  From 
St.  Agnes,"  include  "The  Rose,"  in 
which  George  Arliss  acted  with 
much  success,  "The  Eyes  of  the 
Heart"  and  "Not  Guilty."  She  has 
never  sought  a  career  abroad,  but 
during  long  tours  she  has  visited 
every  city  in  the  United  States  and 
Canada. 


IN  "MARY  OF  MAUDALA" 


134 


PHERE  are  instances 
'  innumerable  of  comic 
,  opera  comedians  who 
have  successfully  en- 
•  tered  straight  comedy. 


rVAYMOND  HITCHCOCK 
1 


""^•Conspicuous  examples 
are  Richard  Mansfield,  W.  H. 
Crane  and  Francis  Wilson.  There 
are  instances  of  comedians  who 
have  abandoned  drama  for  a  career 
in  comic  opera.  De  Wolf  Hopper 
is  one  of  these.  Raymond  Hitch- 
cock furnishes  a  composite  instance 
of  a  facile  character  actor  who  has 
swung  back  and  forth  between  the 
two  branches  of  his  profession. 

Auburn,  New  York,  was  his  birth- 
place. He  began  modestly  as  an 
amateur  actor,  but  for  his  profes- 
sional debut  he  nursed  a  bold  plan 
to  play  "Ingomar.''  The  results 
were  inevitable,  and  he  thought 
them  over  behind  a  counter  in 
Wanamaker's  store  in  Philadelphia. 
His  real  footing  on  the  stage  was 
obtained  in  the  chorus  of  the  Carl- 
:  ton  Opera  Company  when  they 
were  singing  "The  Brigand,"  in 
1891.  While  the  company  was 
playing  in  Montreal,  Charles  Bige- 


IX  "THE  YANKEE  CONSUL 


low   was   ill   and   he   had   his   first 
chance  to  play  a  part. 

For  twelve  years  Mr.  Hitchcock 
played  in  comedies  both  with  and 
without  music.  He  played  Sir 
Tobin  Topax  in  "The  Golden  Wed- 
ding,'' a  long  list  in  the  repertoire 
of  the  Castle  Square  Opera  Com- 
pany, Uncle  Hank  in  the  original 
production  of  "We  'Uns  of  Tennes- 
see," David  Tooke  in  "Three 
Little  Lambs,"  in  "The  Belle  of 
Bridgeport,"  "A  Dangerous  Maid," 
"Vienna  Life,"  "The  Burgomas- 
ter,"  "Miss  Bob  White,"  and  "King 
Dodo." 

He  appeared  first  as  a  star  in 
September,  1903,  in  the  character 
of  Abijah  Booze  in  "The  Yankee 
Consul,"  and  sang  "It  Was  Not 
Like  This  in  the  Olden  Time."  He 
went  back  to  comedy  in  "Easy 
Dawson,"  and  "The  Galloper,"  into 
comic  opera  again  in  "The  Student 
King,"  and  has  since  been  starred 
in  a  musical  version  of  "The  Gal- 
loper," called  "The  Yankee  Tour- 

i  ist,"  in  a  revival  of  "The  Mascot" 
and    in    "The    Man    Who    Owns 

!  Broadway." 


r 


I 

IN  "SISTER  MARY" 

1  is  perhaps  truer  of 
the  people  of  the  stage 
than  of  those  of  any 
other  profession,  that 
the  beginning  has  no 
*^*  relation  to  the  end. 
A  career  is  an  evolution,  but  the 
stages  of  the  process  often  bear 
baffling  relations  to  each  other. 
May  Irwin's  career  as  a  public 
entertainer  had  four  almost  wholly 
unrelated  aspects.  When  she  was 
eight  years  old,  she  sang  soprano  in 
a  church  choir.  That  was  in 
Whitby,  Ontario,  where  she  was 
born  in  1862.  In  those  days  there 
was  no  "polite  vaudeville."  This 
form  of  entertainment  was  given  in 
what  were  known  as  "variety 
houses,"  and  they  were  not  re- 
garded sympathetically  by  the 
church.  Yet  May  Irwin's  first  step 
from  the  church  choir  was  onto  the 
stage  of  Daniel  Shelby's  Adelphi 
Variety  Theatre  in  Buffalo,  where 
she  and  her  sister  sang  duets. 

The  Irwin  Sisters  sang  in  the 
variety  theatres  of  the  Middle  West 
until  Tony  Pastor  saw  them  in  De- 
troit and  brought  them  to  his  the- 
atre in  Fourteenth  Street,  New 
York.  They  remained  there  four 
years.  By  another  of  those  unre- 
lated transitions,  May  Irwin,  in 
1884,  passed  immediately  from 
singing  in  the  smoky  unconvention- 
ality  of  Tony  Pastor's  to  acting  in 
Augustin  Daly's  exclusive  patrician 
theatre  on  Broadway,  where  she 


O  p 


was  a  valued  actress  of  comedy 
servants.  She  was  especially  funny 
as  Susan  in  "A  Night  Off"  and 
Lucy  in  "The  Recruiting  Officer." 
She  accompanied  the  Daly  company 
on  both  their  trips  abroad. 

When  she  left  Daly's  company 
there  followed  a  detached  interval 
during  which  she  sang  again  in 
variety  theatres,  acted  Helen  Stock- 
ton in  "The  Junior  Partner"  with 
Henry  Miller,  Ophelia  in  "Poets 
and  Puppets"  under  Charles  Froh- 
man,  a  leading  part  in  Russell's 
"City  Directory,"  and  in  support 
of  Peter  Dailey  in  "A  Country 
Sport." 

Miss  Irwin  has  been  a  star  in 
farce  since  1895,  when  she  pro- 
duced "The  Widow  Jones."  The 
list  of  succeeding  pieces  includes 
"The  Swell  Mrs.  Fitzwell," 
"Courted  into  Court,"  "Kate  Kip, 
Buyer,"  "Sister  Mary,"  "The  Belle 
of  Bridgeport,"  "Madge  Smith,  At- 
torney," "Mrs.  Black  is  Back," 
"Mrs.  Wilson,  That's  All"  and 
"Mrs.  Peckham's  Carouse."  They 
were  all  written  to  fit  her.  But  as 
her  fun  was  all  normal  and  natural, 
though  carried  to  the  highest  power 
of  laugh  making,  there  was  little  in 
them  that  was  extravagant. 

Miss  Irwin  is  acknowledged  one 
of  the  greatest  low  comediennes  of 
her  time.  To  a  gift  for  acting  she 
disclosed  in  later  years  an  almost 
wholly  new  side  of  her  genius  by 
her  interpretation  of  "coon-songs  " 


W)  U&J  IQGJ IQQJ  UKU  U&J 


CLP 


WILLIAM^ 
F  AV  E  R  S  H  A  M 


w 


WILLIAM  FAVER- 
SHAM'S  recent  ad- 
,  justment  of  himself 
in  a  position  among 
living  actors  of  the 
'first  rank  was  pre- 


pared  for  during  a  long  painstaking 
apprenticeship  and,  in  its  means, 
it  affords  a  striking  illustration 
of  what  can  be  accomplished  by 
initiative  based  on  independence. 
Mr.  Faversham  acted  for  other 
managers  for  a  score  of  years. 
Three  years  ago  he  decided  to  be 
absolute  master  of  his  own  artistic 
efforts  and  destinies.  The  result 
has  been  happy,  not  to  say  in- 
spiring. His  first  production  was 
"The  World  and  His  Wife,"  admir- 
able from  every  point  of  view  ;  and 
he  has  recently  given  the  first  Amer- 
ican production  of  Stephen  Phil- 
lips's  "Herod"  with  real  splendor. 

Mr.  Faversham  was  born  Febru- 
ary 17,  1868,  in  Warwickshire, 
England,  and  was  educated  in  the 
Chigwell  Grammar  School,  Essex, 
and  at  Hillmartin  College.  He 


"roughed  it"  in  London  and  pro- 
vincial companies  for  several  years, 
at  eighteen  playing  Hamlet  at  the 
St.  James  Theatre,  Ramsgate,  and 
came  to  New  York  in  1887.  He 
made  his  debut  January  I7th  of 
that  year  at  the  Union  Square  The- 
atre in  "Pen  and  Ink."  The  play 
failed,  but  Faversham  made  an  im- 
pression, and  Daniel  Frohman  en- 
gaged him  for  five  years  at  the 
Lyceum. 

He  acted  many  parts  with  vary- 
ing results  during  this  associa- 
tion but  won  a  distinct  advance 
for  himself  by  his  Prince  Emil  von 
Haldenwald  in  Bronson  Howard's 
"Aristocracy,"  at  Palmer's,  No- 
vember 4,  1892.  Charles  Frohman 
engaged  him  for  the  Empire,  and 
when  he  left  that  theatre  at  the  end 
of  nine  years,  he  had  been  leading 
man  for  seven  years  of  that  term. 
At  the  Empire  he  played  Simeon 
Brewster  in  "The  Younger  Son," 
Jack  Medbury  in  "The  Councillor's 
Wife,"  Ned  Annesley  in  "Sowing 
the  Wind,"  Reggie  in  "Gud- 


geons," Sir  Brice  Skene  in  "The 
Masqueraders,"  Sir  Hubert  Gar- 
linge  in  "John  A-Dreams,"  Alger- 
non in  "The  Importance  of  Being 
Earnest,"  John  Belton  in  "Mar- 
riage," Gil  de  Berault  in  "Under 
the  Red  Robe,"  Roger  Ainslie  in 
"A  Man  and  His  Wife,"  Eric  in 
"The  Conquerors,"  Lord  Wheatley 
in  "Phroso,"  Lord  Algy  in  "Lord 
and  Lady  Algy,"  Romeo  to  Maude 
Adams's  Juliet,  Martin  in  "My 
Lady's  Lord,"  John  Hinds  in 
"Brother  Officers,"  and  Henri 
Beauclerc  in  "Diplomacy." 

His  stellar  debut  was  made  Au- 
gust 19,  1901,  at  the  Criterion  as 
Don  Caesar  in  "A  Royal  Rival" 
and  he  has  since  continued  as  a 
star  as  Jack  Frere  in  "Impru- 
dence," Captain  Harry  Peyton  in 
"Miss  Elizabeth's  Prisoner,"  Rich- 
ard Brinsley  Sheridan  in  "Mr. 
Sheridan,"  as  Neville  Letchmere  in 
"Letty,"  Jim  Carston  in  "The 
Squaw  Man,"  Don  Ernesto  in 
"The  World  and  His  Wife,"  and 
King  Herod  in  "Herod." 


WILLIAM'  FAVERtTHAM 


IN  "THE 
SQUAW  MAN" 


IN  "BROTHER  OFFICERS" 


IN  "LORD  AND  LADY  ALGY 


MAR.GARIT  ANGLINf 


«f  LTHOUGH  Marga- 
ret Anglin  has  since 
achieved  prominence 
by  virtue  of  her  skil- 
fnlly  developed  native 
she  had  a  certain 


4 

$ 
A 


CATHERINE  IN  "THE 
TAMING  OF  THE  SHREW  ' 

AND 

VIOLA  IN 
"TWELFTH   NIGHT" 


distinction  thrust  upon  her  at  birth. 
Her  father  was  at  the  time  Speaker 
of  the  Canadian  House,  a  post 
which  carries  with  it  the  privilege 
of  residence  in  the  Parliament 
building  at  Ottawa,  and  here  she 
was  born.  While  at  school  in  a 
French  convent  she  began  to  dis- 
close her  dramatic  talent  and,  when 
seventeen  years  old,  she  defied  pa- 
rental authority  and  went  to  New 
York  to  attend  a  dramatic  school. 
She  so  pleased  Mr.  Frohman  by  her 
acting  in  one  of  the  student  per- 
formances that  he  cast  her  for  the 
part  of  Madelaine  West  in  Bron- 
son  Howard's  "Shenandoah,"  and 
she  made  her  professional  debut  in 
this  play  at  the  Academy  of  Music 
in  the  fall  of  1894. 

Since  then  she  has  climbed  stead- 
ily upward  to  a  secure  position  in 
the  front  rank  of  her  profession, 
where  she  is  distinguished  not  only 
as  a  gifted  actress  but  as  her  own 
manager.  The  roles  by  which  she 
has  come  into  her  present  promi- 
nence are  varied  and  interesting.  In 
1896  her  second  engagement  pro- 
moted her  to  the  position  of  leading 
woman  to  James  O'Neil,  with  whom 
she  played  Ophelia,  Virginia,  Mer- 
cedes in  "Monte  Cristo,"  and  Julie 
de  Mortimer  in  "Richelieu,"  and 
then  she  made  so  bold  as  to  or- 
ganize her  own  company  and  to 
tour  Lower  Canada  as  a  star. 

Now  began  the  chain  of  signifi- 
cant events  in  her  career.  Engaged 


for  minor  parts  with  E.  H.  Sothern, 
she  one  night  had  a  chance  to  play 
Lady  Ursula,  as  a  result  of  which 
her  next  opportunity  was  to  create 
Roxane  in  Mansfield's  production 
of  "Cyrano  de  Bergerac."  Her 
noble  and  beautiful  performance  of 
this  character  at  once  established 
her  as  an  able  artist.  This  was 
followed  in  the  autumn  by  her 
creation  of  Constance  in  "The 
Musketeers,"  Heloise  in  "Citizen 
Pierre,"  and  of  Mimi  in  "The  Only 
Way." 

In  1900  she  became  leading 
woman  of  the  Empire  Company, 
a  post  she  retained  till  the  com- 
pany finally  disbanded.  She  ap- 
peared in  "Brother  Officers,"  "The 
Bugle  Call,"  "Mrs.  Dane's  De- 
fense," "Diplomacy,"  "The  Wil- 
derness," "The  Twin  Sister,"  "The 
Importance  of  Being  Earnest,"  and 
"The  Unforeseen."  About  this 
time  she  earned  popularity  in  San 
Francisco  as  joint  stock  star  with 
Henry  Miller.  Out  of  this  as- 
sociation grew  her  secure  position 
as  one  of  America's  leading  stars. 
In  1905  she  came  to  the  unfortunate 
little  up-stairs  Princess  Theatre  in 
"Zira"  and  great  was  her  success, 
which  she  further  accented  a  year 
later  on  the  same  stage  by  her  tri- 
umph as  Ruth  Jordan  in  "The 
Great  Divide."  Equally  notable  is 
her  latest  creation,  Helena  in  "The 
Awakening  of  Helena  Richie," 
under  her  own  management.  Miss 
Anglin  spent  the  year  1908  in  Aus- 
tralia and  won  hearty  recognition 
for  her  performances  in  "The 
Thief,"  "The  Taming  of  the 
Shrew,"  "Zira,"  and  as  Viola  in 
"Twelfth  Night." 


IN  "THE  AWAKENUfU  OF  HELENA  RICHIE" 


MAKGARJET   ANGLIC 


1    JI 


MR    DC   WOLF 


f 


IN    "THE  LADY  OR  THE  TIGER" 


L  L  I  A  M  D  E 
'  WOLF  HOPPER  is 
descendant  of  the 
De  Wolfs  of  Provi- 
dence  on  his  maternal 
ine,  and  his  father's 
family  were  Philadelphia  Quakers. 
The  first  plan  for  his  future  was 
that  he  should  follow  his  father's 
profession  and  become  a  lawyer. 
Amateur  theatricals  developed  an- 
other talent,  however,  and  he  de- 
cided to  be  an  actor. 

There  are  many  roads  to  the 
stage,  but  Hopper,  at  twenty-one, 
had  fifty  thousand  dollars  and  he 
made  his  debut  as  backer  or  "angel" 
and  as  actor  at  the  same  time.  The 
first  play  he  produced  was  "Our 
Boys"  and  he  acted  Talbot  Champ- 
neys.  This  was  in  1878.  The  last 
copper  of  his  bank  account  went 
into  the  next  venture,  which  ex- 
ploited Ada  Gilman  as  a  star  in  a 
Mormon  melodrama,  "The  Hun- 
dred Wives."  Georgie  Drew  Bar- 
rymore  was  in  the  cast.  The  next 
time  he  acted  he  was  paid  for  it  by 
Harrigan  and  Hart,  and  the  play 
was  "The  Blackbird." 

At  the  suggestion  of  Clara 
Louise  Kellogg  he  studied  singing 
with  a  view  to  a  grand  opera  ca- 
reer, but  he  continued  to  act  in 
various  productions  while  studying, 
until  Col.  McCaull  engaged  him  for 


IN  "EL  CAPITAN  ' 


his  celebrated  opera  company,  and 
he  seized  a  chance  opportunity  in 
Philadelphia  to  understudy  one  of 
the  principals  and  he  made  a  hit  as 
Pomeret  in  "Desiret."  He  became 
first  comedian  at  once.  He  main- 
tained himself  in  the  position  with 
increasing  popularity  for  five  years 
from  1885  to  1890,  when  he  took 
his  place  at  the  head  of  his  own 
company.  Mr.  Hopper  has  ranked 
from  the  first  as  one  of  the  most 
legitimately  funny  of  all  comic 
comedians  and  the  superior  of  any 
as  a  singer. 

With  the  McCaull  company  he 
played  the  leading  roles  in  "The 
Black  Hussar,"  "The  Beggar  Stu- 
dent," "Die  Fledermaus,"  "The 
Lady  or  the  Tiger,"  "Loraine," 
"The  Bellman,"  "Josephine  Sold  by 
Her  Sisters,"  "Falka,"  "Chatter," 
"Boccaccio,"  "Jacquette,"  "Prince 
Methusalem,"  "Clover,"  and  "The 


HOPPER 


IN  "THE  E1LACK  HUSSAR" 


Begum.''  As  a  star  his  operas  have 
been  :  "Castles  in  the  Air,"  "Wang," 
"Panjandrum,"  "Dr.  Syntax,"  "El 
Capitan,"  "The  Charlatan,"  "Mr. 
Pickwick,"  "Happyland."  "The  Pied 
Piper,"  and  "The  Matinee  Idol." 
When  The  Lambs  gamboled  on 
tour,  in  1909,  one  of  the  features 
of  their  striking  entertainment  was 
Mr.  Hopper's  appearance  as  Marc 
Antony  in  the  Forum  scene  from 
Shakespeare's  "Julius  Caesar." 

Inseparably  associated  with  Mr. 
Hopper  is  the  baseball  epic,  "Casey 
at  the  P>at."  He  recited  it  first  in 
1885.  The  two  teams  playing  in 
New  York  were  to  make  a  baseball 
night  at  Wallack's  Theatre  while 
he  was  playing  there.  That  very 
day  Archibald  Clavering  Gunter 
had  read  "Casey"  in  a  San  Fran- 
cisco paper  and  cut  it  out,  and  it 
was  suggested  that  Hopper  recite 
it  from  the  stage.  It  was  a  hit  from 
the  first  and  Mr.  Hopper  has  spent 
the  balance  of  his  career  fighting 
the  demands  of  audiences  for  those 
verses.  For  years  he  sought  the 
identity  of  the  author  behind  the 
initials  "E.  L.  T."  on  the  original 
copy.  One  night,  when  playing  at 
Worcester,  Massachusetts,  he  was 
invited  to  meet  the  author  of 
"Casey,"  and  discovered  him  to  be 
Ernest  L.  Thayer,  a  manufacturer 
of  that  city. 


R,    V  N     G 


LADY  JESSICA  IN 
"THE  LIARS" 


IRVING 

'  has  been  acting  im- 
,  portant  parts  in  the 
leading  theatres  since 
she  first  went  on  the 
"stage.  She  made  her 
debut,  when  fifteen  years  old,  with- 
out any  previous  experience  or 
preparation,  in  Rosina  Vokes's  de- 
lightful little  comedy  company,  at 
the  Standard  Theatre,  New  York- 
City,  December  7,  1886,  playing 
Gwendoline  in  "The  Schoolmis- 
tress." She  remained  with  Miss 
Yokes  almost  continuously  for  two 
years. 

Augustin  Daly  became  impressed 
by  her  beauty  and  talent,  and  her 
third  season  on  the  stage  began  as 
a  member  of  his  company.  She 
played  a  varied  round  of  modern, 
romantic  and  Shakespearian  com- 
edy parts  for  five  seasons,  acting 
with  the  Daly  Company  in  London 
and  Paris.  At  the  Vaudeville  The- 


atre in  the  French  capital,  she 
played  Ada  Rehan's  part.  Jo,  in 
"The  Lottery  of  Love."  Some  of 
the  parts  she  played  during  this 
time  were  Caroline  in  "Needles  and 
Pins,"  Jenny  in  "An  International 
Match,"  Pansy  in  "The  Great  Un- 
known," Audrey  in  "As  You  Like 
It,"  Suzette  in  "A  Priceless  Para- 
gon," Faith  Rutherell  in  "The  Last 
Word,"  Virginia  in  the  pantomime 
"The  Prodigal  Son,"  Katherine  in 
"Love's  Labor's  Lost,"  Imogene  in 
"The  Cabinet  Minister,"  Daisy 
Griffing  in  "Nancy  &  Co.,"  Sabina 
in  "A  Test  Case,"  Helen  in  "The 
Hunchback,"  Susan  in  "A  Night 
Off,"  and  Oberon  in  "A  Midsum- 
mer Night's  Dream." 

From  Daly's  she  went  in  1894  to 
the  other  principal  New  York  com- 
pany, that  at  the  Lyceum  Theatre, 
where  she  played  leading  parts  in 
the  productions  of  "The  Amazons," 
"A  Woman's  Silence,"  "The  Case 


MISS  NEVILLE  IN 
"SHE  STOOPS  TO  CONQUER" 

of  Rebellious  Susan,"  "An  Ideal 
Husband,"  "Fortune,"  "The  Home 
Secretary,"  "The  Benefit  of  the 
Doubt,"  and  the  revival  of  "The 
Prisoner  of  Zenda."  She  was  John 
Drew's  leading  woman  in  his  per- 
formances of  "A  Marriage  of  Con- 
venience," "The  Liars,"  "The  Tyr- 
anny of  Tears,"  and  "One  Sum- 
mer's Day." 

Since  1901  she  has  appeared  in 
"To  Have  and  to  Hold,"  with 
Blanche  Bates  in  "Under  Two 
Flags,"  with  Charles  Hawtrey  in 
"A  Message  from  Mars,"  with 
Faversham  in  "A  Royal  Rival,"  as 
Constance  Neville  in  the  all-star  re- 
vival of  "She  Stoops  to  Conquer," 
and  as  a  star  she  has  toured  in  "The 
Crisis,"  "The  Toast  of  the  Town," 
"Susan  in  Search  of  a  Husband," 
and  "The  Girl  Who  Has  Every- 
thing." During  the  season  of  1909, 
she  played  the  leading  part  in  "The 
Commanding  Officer." 


^ILLIAM  NORRIS, 
'  during  not  quite  twen- 
,  ty  years  on  the  stage, 
has  distinguished 
himself  in  nearly 
**^*'every  form  of  theat- 
rical entertainment.  He  was  born 
in  San  Francisco.  After  his  school 
days  there,  during  which  he  often 
appeared  in  amateur  performances, 
he  came  to  New  York  and  made  his 
first  professional  appearance  when 
twenty-one  years  old  in  "The  Girl 
from  Mexico''  at  the  Standard  The- 
atre, December  21,  1891.  His  first 
real  success,  however,  was  made  in 
support  of  Marie  Jansen  two  years 
later  in  "Delmonico's  at  Six''  and 
"Miss  Dynamite." 

Richard  Mansfield  engaged  him 
for  his  Garrick  Theatre  Company 
when  he  opened  that  little  play- 
house, and  Mr.  Norris  created  roles 
there  in  "A  Man  With  a  Past,"  "A 


Social  Highwayman,"  and  "The 
Thoroughbred."  When  Warfield 
gave  up  the  part  of  the  Polite  Luna- 
tic in  "The  Belle  of  New  York," 
Mr.  Norris  took  it  up  and  made  it 
as  amusing  and  distinctive  a  fea- 
ture of  this  piece  as  Dan  Daly's  Mr. 
Bronson.  Less  effective  were  his 
efforts  in  "A  Normandy  Wedding" 
and  "A  Dangerous  Maid,"  but  his 
creation  of  Baverstock,  the  secre- 
tary, in  "His  Excellency  the  Gov- 
ernor," Pinchas,  the  little  poet  of 
the  Ghetto,  in  Zangwill's  "Children 
of  the  Ghetto,"  the  dwarf  jester  in 
Crawford's  "In  the  Palace  of  the 
King,"  with  Viola  Allen ;  and  Pepe, 
the  jester,  in  Otis  Skinner's  revival 
of  "Francesca  da  Rimini, "were four 
strongly  characterized  portraits 
worthy  of  the  highest  standards  in 
character  acting. 

Since  that  time,  Mr.  Norris  has 
made   two   appearances   as   a  dra- 


matic star.  His  first  essay  was  as 
the  Yiddish  clothing  merchant,  Pin- 
cus  Mayer,  in  "The  Business  Man" 
at  McVicker's  Theatre,  Chicago,  in 
1903,  and  in  1906  as  Clarence 
Chope  in  "Sir  Anthony"  at  the 
Savoy  Theatre,  New  York. 

His  other  important  character- 
izations have  been  in  leading  parts 
in  musical  comedy  productions, 
where  he  has  displayed  other  phases 
of  the  same  talents  which  he  em- 
ployed in  drama  without  music. 
His  well  remembered  parts  have 
been  Alan  in  "Babes  in  Toyland," 
The  Man  in  the  Moon  in  "The 
Land  of  Nod,"  Peter  Stuyvesant  in 
"The  Burgomaster,"  Chambhuddy 
Ram  in  "The  Cingalee,"  Barry  in 
"The  Country  Girl,"  the  title  role 
in  "King  Dodo,"  Benjamin  Part- 
ridge, the  leech,  in  "Tom  Jones," 
and  the  leading  part  in  "The  King 
of  Cadonia." 


. 


^ 


/ 


PENELOPE  IN  "ULYSSES" 


>M  O  N  G  the  finest 
performances  of  emo- 
tional roles  and  of 
that  line  of  parts 
-  which  are  conven- 
tionally termed  "ad- 
venturesses" which  the  American 
theatre  has  known  are  those  which 
have  been  given  by  Rose  Coghlan. 
She  was  born  in  Peterborough, 
England,  and  her  father  was  Fran- 
cis Coghlan,  publisher  of  Coghlan's 
Continental  Guides,  and  a  friend  of 
Dickens.  Charles  Coghlan  was  her 
brother. 

Her  first  appearance  on  the  stage 
was  made  in  Greenwich,  Scotland, 
as  one  of  the  witches  in  "Mac- 
beth." Soon  she  was  playing  in 
London  in  support  of  Adelaide 
Neilson  and  J.  E.  Toole.  When 
she  was  nineteen  years  old  E.  H. 
Sothern  brought  her  to  America, 
in  1872,  and  her  first  appearances 
here  were  made  at  Wallack's  The- 
atre, in  September  of  that  year,  as 
Mrs.  Honeyton  in  the  comedy  of 
"A  Happy  Pair"  and  as  Jupiter  in 
F.  C.  Burnand's  extravaganza  "Ix- 


MI55*  ROJE^COGHLAN 

IN  "JACK  STRAW" 

ion."  With  Sothern  she  acted  in 
the  trinity  of  Dundreary  comedies : 
"Our  American  Cousin,"  "Brother 
Sam,"  and  "Dundreary  Married  and 
Settled."  Four  years  followed  in 
England,  during  which  time  she 
played  with  Charles  Mathews,  Jo- 
seph Jefferson  and  Barry  Sullivan ; 
toured  the  Provinces  in  "A  School 
for  Scandal/'  "Twelfth  Night,"  and 
"East  Lynne,''  and  created  Lady 
Manden  in  "All  For  Her"  and  acted 
it  for  four  hundred  nights  at  the 
St.  James  Theatre. 

Miss  Coghlan  returned  to  Amer- 
ica in  1877  and  for  eleven  years 
she  was  almost  continuously  the 
leading  woman  at  Wallack's  The- 
atre, and  such  was  her  popularity 
that  the  plays  were  selected  largely 
with  a  view  to  her  largest  oppor- 
tunity. Among  her  great  perform- 
ances were  Magdalen  in  "False 
Shame,"  Countess  Zicka  in  Sar- 
dou's  "Diplomacy,"  Clarissa  in 
"Clarissa  Harlowe,"  "Camille," 
Stephanie  in  "Forget-me-not,"  "Le 
Belle  Russe,"  Lady  Teazle  in 
"The  School  for  Scandal,"  Peg 


LADY  TEAZLE 


. 


Woffington  in  "Masks  and  Faces," 
Vere  Herbert  in  "Moths."  Nellie 
Denver  in  "The  Silver  King,"  and 
Lady  Gay  Spanker  in  "London  As- 
surance." When  the  celebrated  cast 
was  assembled  to  play  "Hamlet" 
on  Lester  Wallack's  retirement 
from  the  stage,  May  21,  1888,  Miss 
Coghlan  acted  The  Player  Queen. 

Mr.  Wallack's  retirement  dis- 
banded his  famous  company  and 
Miss  Coghlan  became  a  star  at  the 
head  of  her  own  company.  Her 
most  popular  plays  were  "Our 
Joan,"  "Princess  Olga,"  "Lady 
Barter,"  "A  Woman  of  No 
Importance,"  "Peg  Woffington," 
"Nance  Oldfield,"  "Jocelyn"  and 
"Madame,"  the  last  two  written  for 
her  by  her  brother.  More  recently 
she  has  only  accepted  occasional 
engagements  when  the  roles  have 
been  congenial.  She  created  parts 
in  the  American  productions  of 
"The  White  Heather,"  "Mile.  Fi- 
Fi,"  "Ulysses,"  "The  Duke  of 
Killicrankie"  and  "Jack  Straw." 
Miss  Coghlan  is  a  member  of  the 
New  Theatre  company. 


MI55      RO5E      COGHLAN 


L  M    iOL  ,AND 


COLONEL  CARTER  OF 
CARTERSVILLE' 


IN   "  AUNT  JACK' 


*fHERE'S  many  an 
actor  who  cannot  star 
,  and  there  is  many  a 
star  who  cannot  act. 
Edmund  M.  Holland 
falls  more  really  with- 
in the  lines  of  the  former  classifica- 
tion. For  if  he  cannot  star  all  the 
time,  the  time  has  not  been  when  he 
could  not  act. 

He  made  his  debut  on  the  stage 
in  1855  as  a  youngster  in  "To 
Parents  and  Guardians"  at  Wai- 
lack's  Lyceum  Theatre ;  and  many 
interesting  and  diversified  experi- 
ences were  compressed  into  his 
early  years,  including  three  years  as 
call  boy  at  Mrs.  Wood's  Olympic 
Theatre,  small  parts  at  Barnum's 
Museum,  and  a  part  in  the  cast 
which  surrounded  Joseph  Jefferson 
the  first  time  he  played  "Rip  Van 
Winkle'r  in  New  York. 

He  came  from  a  family  of  actors 
but  he  brought  the  name  Holland 
into  new  casts  only  when  he  joined 
Lester  Wallack's  company  in  1867, 
for  during  his  early  years  on  the 
stage  he  was  known  by  only  a  por- 
tion of  his  full  name,  Edmund  Mil- 
ton. After  thirteen  consecutive  sea- 
sons with  Mr.  Wallack  he  went  to 
A.  M.  Palmer  at  his  Union  Square 
Theatre  and,  after  several  changes, 
once  more  found  a  permanent  home 
in  Mr.  Palmer's  company,  first  at 
the  Madison  Square  Theatre  and 
later  at  Palmer's.  He  remained 
with  Mr.  Palmer  thirteen  years, 
giving  performances  which  are  his- 
toric. Among  them  were  Captain 
Redwood  in  "Jim  the  Penman," 
Mr.  Gardiner  in  "Captain  Swift," 
Berkley  Brue  in  "Aunt  Jack," 
Gregory  in  "A  Pair  of  Spectacles," 
Lot  Burden  in  "Saints  and  Sin- 
ners," Colonel  Moberley  in  "Ala- 
bama," and  the  Colonel  in  "Colonel 
Carter  of  Cartersville." 

Richard  Mansfield  presented  E. 
M.  Holland  and  his  brother  Joseph 
Holland  at  his  Garrick  Theatre  in 
1895  m  "A  Man  With  a  Past,"  and 
then  starred  them  in  "A  Social 
Highwayman"  for  two  years.  Mr. 
Holland  has  created  many  splendid 
characters  during  the  last  dozen 
years.  His  best  remembered  parts 
are,  perhaps,  the  Pope  in  "The 
Eternal  City,"  Captain  Bedford  in 
"Raffles,"  Gentle  in  "The  Battle," 
Eben  Holden  in  the  play  of  that 
name,  and  Bates  in  "The  House  of 
a  Thousand  Candles."  In  the  last 
two  plays  he  was  again  a  star.  In 
December,  1909,  Mr.  Holland  cre- 
ated Mr.  Baxter  in  "Foreign  Ex- 
change," then  became  a  member  of 
the  New  Theatre  company,  making 
his  first  appearance  as  Sir  Oliver  in 
"The  School  for  Scandal." 


IN  "ON  THE  EVE" 


T 

latest  of  the  for- 
eign-born, foreign- 
tongued  actresses  to 
learn  English  with  a 
view  to  an  American 
"career  is  Hedwig 
Reicher.  She  is  a  very  young  wo- 
man, and,  as  her  name  suggests, 
came  from  Germany. 

Miss  Reicher  is  the  daughter  of 
Emmanuel  Reicher,  himself  one  of 
the  leading  actors  of  Germany  and 
the  first  to  stage  and  to  act  the 
plays  of  Ibsen  in  his  own  country. 
Her  mother  was  Lena  Harf,  for 
many  years  the  principal  actress  of 
the  Lessing  Theatre  in  Berlin.  In 
her  Berlin  home  Miss  Reicher  grew 
up  under  the  influence  of  the  stu- 
dious and  artistic  atmosphere  cre- 
ated by  her  parents  and  their  asso- 
ciates. Ibsen  was  often  a  guest 
there  for  long  visits. 

She  made  her  debut  when  sixteen 
in  the  leading  role  of  Hermann 
Bahr's  play,  "The  Housewife,''  at 
Hamburg,  where  her  father  had 
taken  the  theatre  for  the  summer, 
and  she  acted  continuously  while 
her  father  remained.  But  she  did 


not  follow  up  a  career  on  the  stage 
uninterruptedly.  There  were  months 
of  retirement  and  study  at  home 
between  engagements  with  stock 
companies  with  whom  her  father 
appeared  as  a  star.  His  repertoire 
was  made  up  largely  of  plays  by 
Shakespeare,  Hauptmann,  Ibsen, 
Lessing,  and  Strindberg.  She  acted 
the  principal  women. 

The  first  time  Miss  Reicher 
tasted  the  real  sweets  of  triumph 
was  for  her  performance  of  Hoff- 
manstahl's  "Electra''  at  Aix-la- 
Chapelle.  That  gave  her  a  secure 
position  among  the  young  leading 
women  in  Germany  and  she  acted 
with  the  first  companies  of  Leipsic 
and  Berlin.  She  added  to  her 
repertoire  notable  performances  of 
"Judith."  "Frou-Frou,"  Nora  in 
"A  Doll's  House,"  Moricka  in  "The 
Fires  of  St.  John,"  and  "Salome." 

In  1907  she  was  engaged  by  the 
Director  of  the  Municipal  Theatre 
at  Frankfort  to  become  leading 
woman.  Her  engagement  was  to 
begin  in  the  fall  of  1908.  This  left 
her  an  interval  of  a  year.  About 
this  time  an  offer  came  for  her  to 


play  leading  parts  at  the  Irving 
Place  Theatre,  in  New  York,  and 
she  accepted  with  the  dual  thought 
of  becoming  acquainted  with  the 
new  world  and  of  seeing  again  her 
brother,  Franz  Reicher,  who  has 
been  acting  here  in  English  in  Mr. 
Sothern's  and  other  leading  com- 
panies for  a  dozen  years. 

Miss  Reicher  delighted  her  Ger- 
man audiences  in  New  York.  She 
was  offered  the  leading  roles  at  the 
New  German  Theatre  for  the  fol- 
lowing year,  and  she  canceled  her 
contract  in  Frankfort  and  re- 
mained. Her  performances  at- 
tracted widespread  attention,  and 
Henry  B.  Harris,  in  April,  1909, 
offered  to  star  her  in  September 
of  the  same  year  if  she  would 
learn  English.  She  consented  and 
"On  the  Eve"  was  chosen  for  her 
debut.  With  her  brother  she  re- 
tired to  the  mountains  to  study 
the  new  language  of  which  she 
knew  not  a  word.  Her  debut  was 
personally  successful  in  spite  of  the 
version  of  the  play.  Her  second 
English  role  was  Paula  Marsh  in 
Charles  Klein's  "Next  of  Kin." 


IN  "TWIRLY  WHIRLV 


MISJ 

A    A    A 

L  I    L- 
LI  AN 

A        A      > 

RU  5- 
SELL 


IN  "  HOITY  TOITY  ' 


O    O    O 


O    O    O 


I     . 


9 


IN  "WILDFIRE" 


O 


NE  evening  in  a  the- 
atrical boarding- 
,  house,  near  his  old 
theatre  in  Broadway 
opposite  Niblo's  Gar- 
den,  Tony  Pastor 
heard  a  girl's  voice  which  charmed 
him  so  that  he  offered  her  fifty  dol- 
lars a  week  to  sing  ballads  in  his 
theatre.  That  was  in  1879.  Her 
name  was  Helen  Louise  Leonard. 
Mr.  Pastor  renamed  her  Lillian 
Russell,  under  which  name  she 
long  reigned  as  the  most  beautiful 
and  attractive  woman  on  the  Amer- 
ican comic  opera  stage. 

She  was  born  eighteen  years  be- 
fore in  Clinton,  Iowa,  where  her 
father  was  an  editor  and  her  mother 
a  woman's  rights  advocate.  She 
went  to  school  in  the  Sacred  Heart 
Convent,  Chicago,  and  studied 
singing  with  Madame  Jovinaily 
and  later  in  New  York  under 
Dr.  Leopold  Damrosch.  For  the 
sake  of  stage  experience  she  joined 
the  chorus  of  E.  E.  Rice's "H. M.S. 
Pinafore"  company  when  eighteen, 
but  retired  within  two  months. 
Her  next  appearance  was  as  Lil- 


lian Russell  at  Tony  Pastor's,  where 
she  established  herself  at  once  and 
permanently  in  public  affection. 
Tours  in  concert  and  opera  as  far 
as  the  Pacific  Coast  followed.  In 
1883  she  became  prima  donna  of 
the  Casino.  Her  first  role  in  this 
house  was  Constance  in  "The  Sor- 
cerer.'' In  the  summer  of  that  year 
she  went  to  England,  where  she  ap- 
peared in  "Virginia  and  Paul"  and 
in  "Polly,"  two  operas  written  for 
her  by  Edward  Solomon. 

Resuming  her  career  in  New 
York,  she  was  in  demand  for  the 
production  of  every  new  opera  and 
seldom  appeared  twice  in  succes- 
sion in  the  same  theatre  until  she 
returned  to  the  Casino  in  1889, 
where  she  remained  two  years.  In 
one  theatre  and  another  during  this 
period  and  until  she  returned  to  Lon- 
don she  was  the  original  in  America 
in  "Polly,"  Virginia  in  "The  Maid 
and  the  Moonshiner,''  "Dorothy," 
Inez  in  "The  Queen's  Mate,"  Prin- 
cess Etelka  in  "Xadjy,''  Fiorella  in 
"The  Brigands,"  "The  Grand  Duch- 
ess," Harriet  in  "Poor  Jonathan," 
Pythia  in  "Apollo,"  Marton  in  "La 


Photograph  by  Hall 

Cigale."  Teresa  in  "The  Mounte- 
banks," the  twin  sisters  in  "Girofle- 
Girofla"  and  Rosa  in  "The  Princess 
Nicotine." 

Miss  Russell's  second  visit  to 
London  was  made  as  a  star.  She 
produced  "The  Queen  of  the  Bril- 
liants" at  Henry  Irving's  Lyceum 
Theatre,  September  8,  1894,  with 
but  little  success.  Two  months 
later  she  appeared  in  the  same 
opera  at  Abbey's  (now  the  Knicker- 
bocker) Theatre  and  during  the  six 
years  succeeding  sang  the  prima 
donna  roles  in  "La  Perichole,"  "La 
Tzigane,"  "The  Goddess  of  Truth," 
"An  American  Beauty,"  "TheWed- 
cling  Day,"  "La  Belle  Helene"  and 
"Erminie."  The  next  four  years 
she  spent  at  Weber  and  Fields 's 
Music  Hall,  and  then  resumed  her 
place  at  the  head  of  her  own  com- 
pany, singing  "Lady  Teazle"  in  an 
operatic  version  of  Sheridan's  com- 
edy, "The  School  for  Scandal."  In 
1906  she  began  to  act  in  plays  with- 
out music  and  has  since  toured  in 
"Barbara's  Millions,"  "Wildfire," 
"The  Widow's  Might,"  and  "The 
First  Night." 


'MIS  S- LILLIAN  "RUSSELL"  "  " 


living  actors 
have  equaled  Louis 
,  James  in  the  variety 
of  their  experience 
and  the  importance 
their  achievement. 
None  who  is  conspicuous  on  the 
stage  to-day  reaches  so  far  back. 
Forty  years  ago  he  was  one  of  the 
leading  young  artists  of  the  Ameri- 
can theatre.  He  has  embellished 
his  long  career  with  many  fine 
achievements  ;  for  twenty-five  years 
he  has  starred  in  Shakespeare,  and 
he  survives  as  one  of  our  three 
leading  living  Shakespearian  actors. 

Mr.  James  was  born  in  Freeport, 
Illinois,  in  1841.  He  went  on  the 
stage  in  1863  in  the  company  at 
Macauley's  Theatre,  Louisville. 
For  six  years  he  was  one  of  the 
leading  players  of  Mrs.  John 
Drew's  celebrated  company  at  the 
Arch  Street  Theatre,  Philadelphia, 
and  in  1871  he  took  a  prominent 
place  in  Augustin  Daly's  company 
which  he  held  by  virtue  of  fine 
achievements  for  five  years.  He 
acted  Captain  Lynde  in  "Divorce," 
Henry  Delile  in  "Article  47,"  Dori- 
court  in  "The  Belle's  Stratagem," 
Master  Page  in  "The  Merry  Wives 
of  Windsor,"  Joseph  Surface  in 
"The  School  for  Scandal,"  Major 
Whist  in  "Saratoga,"  Longaville  in 
"Love's  Labor's  Lost,"  Bill  Sykes 
in  "Oliver  Twist/'  young  Marlow  in 
"She  Stoops  to  Conquer,"  and  Mas- 
ter Heywood  in  "Yorick's  Love." 
He  was  the  first  to  act  several  of 
these  parts. 

After  playing  leading  parts  in 
McVicker's  company  in  Chicago, 
and  Maguire's  in  San  Francisco,  he 
was  leading  support  for  Lawrence 
Barrett  for  five  years.  In  1885  he 
began  to  star  with  Marie  Wain- 
wright  and  played  "Virginius," 
"Othello,"  "Ingomar,"  "The  Love 
Chase,"  "Much  Ado  About  Noth- 
ing," and  other  standard  and  clas- 
sical plays. 

Since  1889  Mr.  James  has  starred 
alone  except  when  special  produc- 
tions have  been  made  and  Mod- 
jeska,  Frederick  Warde  or  Kather- 
ine  Kidder  have  co-starred  with 
him.  He  has  presented  nearly  every 
play  in  the  Shakespearian  repertoire, 
showing  equal  facility  as  Hamlet 
or  Bottom,  Macbeth  or  Orlando, 
Othello  or  Caliban,  Shylock  or  a 
Dromio,  Wolsey  or  Benedick. 

In  the  all-star  revival  of  "The 
Two  Orphans,"  first  given  at  the 
New  Amsterdam  Theatre  in  1905, 
he  was  the  Jacques  Fouchard  on 
tour,  and  later,  in  a  similarly  nota- 
ble cast  of  "She  Stoops  to  Con- 
quer," he  played  Hardcastle  to  the 
Kate  of  Eleanor  Robson  and  the 
young  Marlow  of  Kyrle  Bellew. 


JASON  GREEN 
IN    "OLD    INNOCENCE' 


MAVERICK  BRANDER 
IN    "A    TEXAS   STEER" 


[MR   TIM     MURPHY 


DAVID  HOLMES  IN  "A 
BACHELOR'S   ROMANCE" 


JIM   JOHNSTONE  IN  "A  CORNER  IN  COFFEE" 


GOVERNOR  CRANCE  IN 
'THE  CARPET   BAGGER" 


PIM  MURPHY  is  an 
'  actor  of  wide  popu- 
,  larity  throughout  the 
United  States  who 
•  has  made  himself  ad- 
*mired  by  the  por- 
trayal of  quaint,  amiable,  and 
shrewd  American  types.  He  has  a 
faculty  amounting  almost  to  genius 
for  keeping  his  characters  close  to 
nature  and  he  lightens  them  with  a 
whimsical  sense  of  humor.  He  is 
most  often  compared  to  John  T. 
Raymond  and  Sol  Smith  Russell, 
and  he  is  generally  accredited  an 
able  exponent  of  the  school  of 
which  Joseph  Jefferson  was  the 
master. 

Mr.  Murphy  was  born  on  the 
eastern  edge  of  New  York  state, 
but  very  early  in  life  he  moved 
with  his  parents  to  Washington, 
District  of  Columbia.  As  a  boy  he 
often  acted  in  school  and  other 
amateur  entertainments  and  event- 


ually  he  was  admitted  to  the  Barrett 
Dramatic  Club  of  which  many  well- 
known  actors  were  graduates. 

Charles  H.  Hoyt's  farcical  cari- 
catures of  American  life  caught 
his  attention  and  he  applied  to  the 
author-manager  at  the  Madison 
Square  Theatre.  Mr.  Hoyt  gave 
him  the  character  of  Dodge  Work 
in  "A  Brass  Monkey"  and  was  so 
much  struck  with  his  creation  that 
he  wrote  for  him  the  role  of  the 
Hon.  Maverick-  Brander  in  "A 
Texas  Steer." 

After  a  long  run  in  New  York 
Mr.  Murphy  bought  "A  Texas 
Steer"  and  starred  in  it  throughout 
America.  Since  that  time  he  has 
been  his  own  manager  and  has  pro- 
duced a  new  play  and  created  a 
new  role  on  an  average  of  once  a 
year.  A  glance  down  the  list  of 
Mr.  Murphy's  repertoire  reveals 
the  interesting  fact  that  he  has  not 
played  any  other  than  American 


characters,  unless  exception  be 
made  of  his  admired  imitation  of 
Sir  Henry  Irving's  Mathias  in 
"The  Bells"  which  he  has  used  to 
round  out  an  evening  in  connection 
with  other  plays.  His  most  popu- 
lar characterizations  have  been  the 
Governor  of  Mississippi  in  Opie 
Read  and  Frank  Pixley's  "The 
Carpet  Bagger" ;  Jason  Green  in 
"Old  Innocence,"  from  the  same 
French  source  ("Les  Petits  Oise- 
aux")  that  Sydney  Grundy  took 
"A  Pair  of  Spectacles" ;  David 
Holmes  in  Martha  Morton's  "A 
Bachelor's  Romance" ;  Joel  Gay  in 
"A  Capitol  Comedy" ;  Jim  John- 
stone  in  the  dramatization  of  the 
Rev.  Cyrus  Townsend  Brady's  "A 
Corner  in  Coffee" ;  John  Crosby  in 
Frederick  Paulding's  "Two  Men 
and  a  Girl";  David  Stratton  in 
Charles  Jeffrey's  "Cupid  and  the 
Dollar";  and  John  Boland  in  Ru- 
pert Hughes's  "My  Boy." 


IN  "THE  HYPOCRITES" 


KEANE 


IN  "ARSENE  LUPIN' 


D 


s 


KEANE 

one  of  the  young 
actresses  who  have 
come  out  of  the  West 
brimming  with  a  tem- 
**"  "^perament  which  is 

not  usually  associated  with  the  na- 
tive American  nature.  She  was 
born  in  Michigan.  Her  parents 
moved  to  Chicago  when  she  was  a 
mere  child,  and  she  spent  the 
earlier  years  of  her  life  there.  Her 
cosmopolitan  experiences  were  en- 
larged by  her  schooling  in  New 
York  and  in  European  cities. 
When  she  decided  upon  the  stage 
as  a  profession,  she  entered  the 
American  Academy  of  Dramatic 
Arts  and  took  the  course  in  acting, 
appearing  in  several  public  per- 
formances given  by  the  students. 

Miss  Keane  made  her  first  pro- 
fessional appearance  in  the  part  of 
Rosie  in  Henry  Arthur  Jones's 
play,  "Whitewashing  Julia,"  at  the 
Garrick  Theatre,  December  2,  1903. 


Mr.  Frohman  had  selected  her  for 
this  role,  and  she  has  not  since  acted 
under  any  other  manager  save  for 
one  summer,  when  she  played  in  a 
stock  company.  He  sent  her  on 
tour  for  her  second  year's  experi- 
ence to  play  in  Augustus  Thomas's 
"The  Other  Girl"  in  support  of 
Lionel  Barrymore,  and  in  1905 
she  was  given  the  part  of  Irene 
Millard,  the  florist's  daughter,  in 
another  of  Mr.  Thomas's  plays, 
"De  Lancey,"  in  which  John 
Drew  starred. 

Feeling  the  limitations  of  the 
one-part-a-year  method  to  which 
modern  methods  often  restrict  a 
rising  and  ambitious  actress,  Miss 
Keane  joined  a  summer  stock  com- 
pany in  St.  Paul  in  1906,  and  after 
only  three  years  on  the  stage  she 
acted  all  the  leading  roles  in  this 
organization's  repertoire.  When 
she  returned  to  New  York  in  the 
autumn,  Mr.  Frohman  cast  her 
for  the  role  in  which  she  had  her 


most  brilliant  opportunity,  and 
she  rose  to  the  high  level  of  the 
performance  of  those  about  her. 
This  was  in  Henry  Arthur  Jones's 
"The  Hypocrites"  and  her  char- 
acter was  Rachel  Neve.  When  Mr. 
Frohman  produced  this  play  at 
Hicks's  Theatre,  in  London,  the 
following  year,  he  sent  Miss  Keane 
across  the  ocean  to  play  the  part 
she  had  originated. 

In  the  spring  of  1909,  on  April 
12,  at  the  Garrick  Theatre,  she 
created  Joan  Thornton,  the  leading 
part  in  "The  Happy  Marriage,"  by 
Clyde  Fitch,  and  the  last  play 
which  he  lived  to  direct  in  its  pro- 
duction. Miss  Keane  by  this  per- 
formance intensified  the  impres- 
sion she  had  made  in  previous 
efforts.  In  the  August  follow- 
ing, at  the  Lyceum  Theatre,  she 
played  Sonia  Kritchnofe  in  the 
first  production  in  English  of 
Croisset  and  Leblanc's  "Arsene 
Lupin." 


IN  "THE  HYPOCRITES" 


MIS5        DOK.IS          REANE 


IN  "ABSENE  LUPIN' 


Mr     OTIS 


SKINNER 


SKINNER  is 
an  artist  of  notable 
versatility  on  a  high 
plane.  His  natural 
gifts  are  a  keen  intel- 
lect, plastic  tempera- 
ment, high  spirits,  gracious  per- 
sonality, lofty  ideals,  ambition, 
energy  and  zeal.  His  dramatic  art 
is  solidly  founded  on  his  experience 
as  a  young  man  in  prominent  parts 
in  the  companies  of  Edwin  Booth, 
Lawrence  Barrett,  Helena  Mod- 
jeska  and  Augustin  Daly. 

Mr.  Skinner  is  the  son  of  a 
Massachusetts  clergyman,  and  was 
born  in  Cambridge,  June  28,  1858. 
He  adopted  the  stage  as  his  pro- 
fession before  he  was  twenty,  hav- 
ing made  his  debut  in  a  negro  part, 
Plantation  Jim,  in  "Woodleigh"  at 
the  Philadelphia  Museum,  in  No- 
vember, 1877.  He  acted  in  Phila- 
delphia for  two  years  before  he 
came  to  New  York,  and  very  soon 
attracted  the  attention  of  Edwin 


IN  "THE  HARVESTER" 

Booth  and  Lawrence  Barrett,  in 
whose  support  he  played  for  several 
years.  His  performance  of  Paolo 
in  ''Francesca  da  Rimini"  to  the 
Lanciotto  of  Lawrence  Barrett  es- 
tablished him  as  a  young  man  of  fine 
accomplishment  and  large  promise, 
which  he  has  not  disappointed. 

Augustin  Daly  engaged  Skinner 
for  his  theatre  and  he  maintained 
this  association  in  America  and 
England  for  four  years,  adding  to 
his  classic  repertoire  a  list  of  light, 
modern  and  romantic  roles.  In 
1899  he  was  leading  man  for  the 
Booth-Mod  jeska  company.  The 
next  year  he  went  to  London, 
where,  at  the  Globe,  he  played 
Romeo,  and  Percy  Gauntlett  in 
''This  Woman  and  That."  On  his 
return  to  America,  he  became 
Helena  Modjeska's  principal  sup- 
port, playing  Orlando,  King  Henry 
VIII,  Sir  Edward  Mortimer  in 
"Mary  Stuart,"  Leonatus  in  "Cym- 
beline,"  Shylock  in  "The  Merchant 


of  Venice,"  Benedick  in  "Much 
Ado  About  Nothing,"  and  Major 
Schubert  in  "Magda."  He  next 
added  Captain  Absolute  -to  his  list, 
in  support  of  Joseph  Jefferson  in 
"The  Rivals." 

Save  for  one  year,  during  which 
he  starred  jointly  with  Ada  Rehan, 
playing  Charles  Surface,  Petruchio 
and  Shylock,  he  has  been  an  inde- 
pendent star  ever  since.  The  list  of 
characters  and  plays  which  Skinner 
has  produced  includes  "His  Grace 
de  Grammont,"  "The  King's  Jes- 
ter," "Villon  the  Vagabond,"  "A 
Soldier  of  Fortune,"  "Prince  Ru- 
dolph," "The  Liars,"  "Hamlet," 
"King  Richard  III,"  "Rosemary," 
"Prince  Otto,"  "In  a  Balcony," 
Lanciotto  in  "Francesca  da  Ri- 
mini," "Lazarre,"  "The  Harvester," 
the  Abbe  Daniel  in  "The  Duel," 
Colonel  Bridau  in  "The  Honor  of 
the  Family,"  and  La  Fayette Towers 
in  Booth  Tarkington  and  Harry  Leon 
Wilson's  "Your  Humble  Servant.'' 


M  i  5  J  * 


T'DEN  15 


,•  .-'^^mi> 


RJ 


-  -  - 


-  NY  record  of  the 
stage  in  America  to- 
,  day  would  not  be 
representative  of  the 
n,varied  forms  of  ar- 
^"tistic  eloquence  which 
does  not  include  reference  to  the 
young  American  dancer,  Ruth  St. 
Denis.  Her  story  is  brief,  for  she 
is  new  in  the  public  eye,  but  it  is 
picturesque  and  significant. 

Miss  St.  Denis  was  born  on  a 
New  Jersey  farm  of  an  inventor 
father  and  a  literary  mother.  Her 
first  appearance  before  an  audience 
was  made  in  an  amateur  perform- 
ance of  "The  Old  Homestead" 
given  in  the  district  school  house. 
In  the  play  she  acted  Whistling 
Joe  and  between  the  acts  she  gave 
some  movements  which  were  called 
Exercises  in  Delsarte,  but  which 
she  describes  as  "a  thin  attenuation 
of  lessons  received  from  a  pupil  of 
a  pupil  of  Delsarte." 


IN  "THE  NAUTCH  DANCE" 

The  next  step  was  on  to  the  pro- 
fessional stage  and  into  one  of  Mr. 
Belasco's  companies.  But  her  ca- 
pacity for  acting  seemed  to  hold 
little  hope  for  her.  One  day  there 
came  to  her  the  inspiration  for  the 
original  excursions  which  were 
later  to  bring  her  fame.  She  says 
it  was  found  in  the  figure  of  an 
Egyptian  Deity  which  she  saw  ex- 
posed in  a  Buffalo  shop  window  to 
advertise  cigarettes.  Forthwith  she 
formed  the  plan  of  expressing 
through  movement  the  religion  and 
customs  of  the  Orient. 

In  developing  her  idea  and  its 
setting  the  young  woman,  with  her 
mother's  assistance,  studied  the  lit- 
erature and  art  of  the  East,  learned 
from  Indians  whom  she  sought  out 
and  lived  with,  and,  when  it  came 
to  giving  form  to  her  idea,  so  poor 
was  she  that  she  made  her  own 
costumes  and  painted  much  of  her 
own  scenery.  No  manager  would 


venture  her  an  opportunity  to  give 
her  performance  until  a  group 
of  New  York  women  subscribed 
enough  to  eliminate  the  possibility 
of  loss. 

She  finally  appeared  at  a  special 
matinee  at  the  Hudson  Theatre 
and  it  at  once  became  evident  that 
an  artist  had  arrived  with  a  new 
idea  to  express.  From  New  York 
Miss  St.  Denis  went  to  the  Ald- 
wych  Theatre,  London,  and  to 
various  European  capitals.  Her  re- 
turn to  New  York  for  the  season 
of  1909  and  1910  has  resulted  in  a 
veritable  triumph. 

Miss  St.  Denis's  performance  is 
more  and  less  than  dancing  as  con- 
ventionally known  on  our  stage, 
since  dancing  generally  means 
movement  to  rhythm,  whereas  in 
expressing  her  ideas  she  does  not 
always  confine  the  movement  to  the 
bounds  either  of  rhythm  or  of 
music. 


I.V  "THE  USURPER' 


MI55  '  GRACE 


IX  "  THE  LION  AN1)  THE  MOUSE  " 


ELLISTON 


-*^RACE  ELLISTON 
is  a  leading  woman 
who  has  rarely  acted 
for  any  extended 
period  far  away  from 
8New  York  during  re- 
cent years.  She  has  created  im- 
portant parts  in  many  productions, 
appearing  in  support  of  the  most 
conspicuous  stars,  and  during  the 
winter  of  1909  she  made  her  own 
debut  as  a  star. 

Miss  Elliston  is  a  West  Virginia 
girl.  The  death  of  her  father  left 
it  incumbent  on  her  to  contribute 
to  the  support  of  the  family  and 
she  turned  to  the  theatre  as  a  hope- 
ful opportunity.  Her  first  engage- 
ments were  in  musical  comedy,  but 
her  ambitions  rose  above  this  and 
her  talents  justified  her  ambitions. 
She  applied  to  Daniel  Frohman 
who  at  that  time  still  had  his  Ly- 
ceum Theatre  on  Fourth  Avenue 
near  Twenty-Third  Street,  known 
as  "the  parlor  home  of  comedy," 
and  he  placed  her  in  the  cast  of 
"Americans  at  Home,"  in  which 
she  played  Dorothy,  March  13, 
1899.  The  same  spring  she  played 
Ethel  Carlton  in  "His  Excellency 
the  Governor"  at  the  same  theatre. 
The  next  autumn  she  was  found 
in  John  Drew's  support  in  "The 
Tyranny  of  Tears"  at  the  Empire. 
In  December  at  Hoyt's,  known  be- 
fore and  later  as  the  Madison  Square 
she  acted  Lady  Curtoys  in  "Wheels 


IV  "THE   DEVIL 


^Nfli — 4^0 


Within  Wheels";  and  on  Febru- 
ary 5th  following  she  was  seen  at 
Daly's  as  Alice  Gainsborough  in 
"The  Ambassador."  It  was  a  busy 
and  successful  year  for  a  novice  in 
the  drama  and  it  raised  Miss  Ellis- 
ton  to  a  conspicuous  position  among 
the  young  actresses. 

Soon  after  this  she  joined  Henry 
Miller  and  acted  during  three  sum- 
mers in  his  splendid  stock  company 
in  San  Francisco,  playing  many  and 
varied  parts.  She  returned  to  New 
York  with  him  in  March,  1903,  and 
appeared  at  the  Savoy  Theatre  in 
Richard  Harding  Davis's  comedy, 
"The  Taming  of  Helen."  That 
autumn  Richard  Mansfield  pro- 
duced "Old  -feiclelberg"  and  Miss 
Elliston  created  Kathie  in  this  play 
on  the  night  the  Lyric  Theatre  was 
first  opened  to  the  public.  She  has 
since  played  Olivia  in  "Twelfth 
Night"  with  Viola  Allen,  the  lead- 
ing woman's  part  in  "The  Usurper" 
with  N.  C.  Goodwin,  Mildred  in 
Robert  Browning's  "The  Blot  i' 
the  'Scutcheon"  with  Mrs.  Le 
Moyne,  Shirley  Rossmore  in 
Charles  Klein's  "The  Lion  and  the 
Mouse"  at  the  Lyceum  Theatre  in 
the  autumn  of  1905,  Colombe  in 
Browning's  "Colombe's  Birthday," 
Lady  Gerania  in  "Dr.  Wake's 
Patient,"  and  made  her  debut  as 
a  star  at  Worcester,  Mass.,  No- 
vember 29,  1909,  in  the  title  role 
of  "Jaqueline." 


&HEKE  are  difficulties 
in  the  way  of  being 
a  Barrymore  and  not 
being-  an  actor.     They 
are  hereditary  and  in- 
the 
The 


™stmctive,     and 

American  public  is  glad  of  it. 
youngest  of  the  family,  John  Barry- 
more,  worked  hard  to  surmount 
these  difficulties.  He  had  de- 
veloped a  talent  as  artist  and  illus- 
trator and  the  possibilities  of  a 
successful  career  in  this  profession 
had  opened  to  him  when  he  suc- 
cumbed to  the  call  of  the  theatre. 

Mr.  Barrymore  is  a  juvenile  light 
comedian  and  a  character  actor  of 
ability.  He  has  advanced  himself 
in  the  past  seven  years  to  what  is 
professionally  known  as  a  "fea- 
tured" position  and  it  now  seems 
inevitable  that  his  sister  Ethel  will 
not  long  be  the  only  one  of  their 
distinguished  name  who  is  a  star  in 
the  theatrical  firmament. 

His  debut  on  the  stage  was  made 
as  Max  in  support  of  Nance  O'Neil 
in  "Magda,"  in  Cleveland's  The- 
atre, Chicago,  October  31,  1903. 
Two  months  later  he  made  his  first 
appearance  in  New  York,  acting  at 
the  Savoy  Theatre  in  "Glad  Of  It," 
and  during  the  April  following  he 
appeared  in  William  Collier's  sup- 
port at  the  Criterion  Theatre  as  the 
telegraph  operator  in  "The  Dicta- 
tor," playing  the  same  character  in 
London  in  the  spring  of  1905. 

When  he  returned  home  he 
joined  his  sister's  company  and 
with  her  he  acted  Jackey  in  "Sun- 
day," Stephen  Rollo  in  "Alice  Sit- 
by-the-Fire,"  and  the  clown  in 
"Pantaloon."  When  Mr.  Collier 
went  to  Australia  in  1906  Mr. 
Barrymore  accompanied  him  to 
play  his  original  character  in  "The 
Dictator."  On  his  return  he  re- 
joined his  sister  and  later  he  suc- 
ceeded Arnold  Daly  in  the  leading 
role  of  "The  Boys  of  Company  B" 
at  the  Lyceum  Theatre  and  on 
tour.  Charles  Frohman  cast  him 
for  Lord  Meadows  in  "Toodles" 
and  that  brief  experience  was  fol- 
lowed by  an  excursion  into  musical 
comedy,  at  first  in  Chicago  as  the 
Prince  in  "The  Stubborn  Cinde- 
rella" and  later  at  the  Knicker- 
bocker in  one  of  the  leading  parts  in 
"The  Candy  Shop."  His  latest  and 
most  successful  effort  is  as  the  hero 
in  Winchell  Smith's  comedy  with- 
out music,  "The  Fortune  Hunter." 


JOHN  BARRYMORE 


HISS     BLANCHE     BATES 


BLANCHE  BATES 
learned  the  rudiments 
of  her  art  and  laid 
the  foundation  for  fu- 
ture success  in  the 
Miard,  hard  work  of 
stock  acting  on  her  native  Pacific 
slope.  Her  father  was  the  man- 
ager of  a  theatre  in  Portland, 
Oregon,  and  she  was  born  in  that 
city  in  1873.  Three  years  later  the 
family  moved  to  San  Francisco, 
where  she  attended  school. 

Brander  Matthews's  one  act  play, 
"This  Picture  and  That,"  was  the 
vehicle  for  her  first  public  appear- 
ance, when  it  was  given  at  a 
benefit  performance  in  San  Fran- 
cisco in  1894.  Joining  the  T.  D. 
Frawley  stock  company  she  was 
given  utility  parts.  Her  next  step 
was  into  prominent  roles  with  the 
Giffin  and  Neill  company,  which 


played  long  seasons  in  Denver, 
Salt  Lake  City,  San  Francisco,  and 
Portland,  with  a  final  week  each 
year  in  Honolulu.  Within  a  little 
over  twelve  months  after  adopting 
the  stage  she  was  playing  leading 
characters  in  a  wide  variety  of 
comedies  and  emotional  plays. 

Augustin  Daly  engaged  Miss 
Bates  in  1897  and  she  made  her 
first  New  York  appearance  in  his 
theatre  in  the  autumn  of  that  year 
as  Bianca  in  "The  Taming  of  the 
Shrew"  and  continued  to  play  parts 
second  to  Ada  Rehan's.  When 
"The  Great  Ruby"  was  produced 
at  Daly's  she  acted  the  Countess 
Mirtza  twice  and  left  the  company. 
Although  there  was  much  printed 
comment  on  this  incident,  no  ex- 
planation reached  the  public  ear. 
In  March,  1899,  she  played  Miladi 
with  James  O'Neil  in  "The  Mus- 


i'hoto  by  BJTUI 


IN  "THE  FIGHTING  HOPE" 


keteers"  at  the  Broadway  Theatre 
and  Hannah  in  Zangwill's  "Chil- 
dren of  the  Ghetto"  at  the  Herald 
Square  in  October. 

Miss  Bates  next  appeared  under 
David  Belasco's  management  in 
"Naughty  Anthony"  with  inconsid- 
erable effect  compared  with  that 
produced  by  her  next  creation 
as  Cho-Cho-San  in  John  Luther 
Long's  "Madame  Butterfly."  After 
an  interval  with  Chas.  Frohman  as 
Cigarette  in  a  dramatization  of 
Ouida's  "Under  Two  Flags"  she 
returned  to  Mr.  Belasco  and  made 
her  debut  as  a  star  in  December, 
1902,  as  Yo-San  in  "The  Darling 
of  the  Gods."  The  long  run  which 
this  play  enjoyed  was  followed  by 
an  equal  success  as  the  Girl  in 
"The  Girl  of  the  Golden  West." 
Miss  Bates's  latest  role  is  Anna 
Granger  in  "The  Fighting  Hope." 


IX  ••  C.VDF.R  TWO  FLAGS  " 


IN  "THE  DARLING  OF  THE  GODS" 
Photograph  by  Byron 


-* * * * * 


IN  "THE 
AMBASSADOR" 


B 


Y  all  the  influences 
of  heredity,  John  Ma- 
,  son  should  have  been 
a  musician.  He  is 
one  of  the  American 
^family  of  Masons  who 
have  been  so  conspicuous  for  gen- 
erations in  the  manufacture' of  mu- 
sical instruments.  His  grandfather 
was  Lowell  Mason,  the  great  hym- 
nist  who  wrote  "Nearer  My  God 
To  Thee."  His  uncle  was  William 
Mason,  the  composer  and  organist. 
While  a  boy  he  spent  five  years  at 
school  in  Germany,  and  polished  off 
at  home  during  a  year  at  Columbia. 
His  father  intended  him,  not  for 
music,  but  for  law,  but  a  strong 
natural  inclination  bent  him,  not  to 
the  law,  but  to  the  stage. 

He  had  already  appeared  occa- 
sionally in  amateur  theatricals  when 
an  opportunity  was  offered  to  ap- 
pear professionally  and  play  two 
servant  parts  in  "The  Pride  of  the 
Market,"  which  was  to  be  presented 
at  Bannard's  Museum,  now  Daly's 
Theatre.  One  week  rounded  its 
brief  existence,  and  Mason  went  to 
Italy  to  study  singing.  After  a 
year  abroad  he  returned  and  made 


V 


IN  "THE  WITCHING  HOUR" 

Mr'JOHN 
MAS  O  N 


IN  "THE  NEW  YORK  IDEA" 


another  beginning  in  the  spring  of 
1878  in  small  parts  with  Maggie 
Mitchell,  and  followed  rough  tour- 
ing with  a  season  in  the  Walnut 
Street  Theatre  stock  company  in 
Philadelphia. 

In  the  summer  of  1879  he  was 
admitted  to  the  Boston  Museum 
stock  company  and  played  there 
continuously  for  seven  years  except 
for  the  season  of  1884  and  1885, 
when  he  was  absent  for  brief  en- 
gagements in  support  of  Edwin 
Booth,  Nat  Goodwin,  and  Robert 
Mantell  and  at  the  Union  Square 
Theatre.  The  penetration,  poise 
and  polish  which  have  made  him 
one  of  the  most  genuine  and  effect- 
ive players  on  the  stage  to-day  be- 
gan to  be  manifest  in  the  course  of 
the  varied  training  at  the  Museum. 

He  disappeared  from  the  com- 
pany suddenly  in  1891,  and  was 
heard  of  next  in  London  with 
George  Alexander,  where  he  played 
Simeon  Strong,  the  one  American 
character  in  "The  Idler."  London 
liked  him  and  kept  him  for  two 
years.  His  return  to  America  be- 
gan a  shifting  period  of  acting.  He 
starred  alone  in  "If  I  Were  You," 


went  again  to  London  to  play  Col- 
onel Moberly  in  "Alabama,"  and 
returned  to  star  with  Marion  Ma- 
nola  in  a  musical  version  of  "Friend 
Fritz." 

When  Viola  Allen  produced 
"The  Christian"  at  the  Knicker- 
bocker in  1898  Mr.  Mason  was  the 
Horatio  Drake,  and  the  list  of  what 
he  has  accomplished  since  is  a  list 
of  as  fine  performances  of  modern 
roles  as  our  stage  can  boast.  He 
played  the  leading  parts  in  the 
American  productions  of  "Wheels 
Within  Wheels,"  "The  Ambassa- 
dor," "The  Interrupted  Honey- 
moon," "The  Man  of  Forty,"  "Mice 
and  Men,"  "The  Younger  Mrs. 
Parling,"  "The  Altar  of  Friend- 
ship," and  with  Mrs.  Fiske  he  acted 
Lovborg  in  "Hedda  Gabler"  and 
created  Paul  Sylvaine  in  "Leah 
Kleschna,"  Michael  Kerouac  in 
"The  Light  From  St.  Agnes,"  and 
John  Karslake  in  "The  New  York 
Idea."  Appearances  in  vaudeville 
and  with  Virginia  Harned  in  "Anna 
Karenina"  preceded  his  perform- 
ance of  Jack  Brookfield,  the  gam- 
bler, as  a  star  in  Augustus  Thomas's 
play.  "The  Witching  Hour." 


IN  "THE  MESSENGER  BOY" 
IN  "THE  REJUVENATION  OF  AUNT  MARY 


M\SS    MAY   ROBSON 


i  character  actress 
was  one  of  the  well- 
,  defined  classes  in  the 
old  stock  companies. 
i^She  has  been  largely 
^superseded  by  the  in- 
vasion of  realism  on  the  stage, 
which  has  come  to  demand  the  type 
in  the  flesh  rather  than  in  the  make- 
up box.  May  Robson,  however,  is  a 
character  actress  who  maintains  her 
prestige  because  she  has  the  gift  to 
give  make-up  and  characterization 
the  illusion  of  reality.  To  rare  tal- 
ents for  individualizing  a  character 
she  adds  rare  gifts  for  comedy  and 
burlesque. 

Miss  Robson  was  born  in  the 
Australian  bush.  When  a  young  girl 
she  was  brought  to  England  and 
put  in  a  convent  at  Highgate,  and 
later  she  studied  in  Brussels  and 
Paris.  At  sixteen  she  ran  away 
from  home  and  married  a  boy  of 
eighteen,  and  they  sought  a  home 
in  Texas,  near  Fort  Worth.  After 
several  years  of  hardship,  she  found 
herself  in  New  York  a  widow  with 
three  little  children  to  support.  She 
crocheted  woolen  hoods  and  de- 
signed dinner  cards.  Two  of  the 
children  died,  the  sale  of  cards 
declined,  and  she  went  on  the  stage. 

Her  first  appearance  was  made 
in  "The  Hoop  of  Gold."  She  played 
Tilly,  a  London  slavey,  and  made  a 
hit.  But  for  all  that  she  had  to 
paint  dinner  cards  for  two  years 
more.  Then  she  acted  Miss  Ash- 
forth  in  "The  Private  Secretary." 
Later  she  became  a  member  of  the 
Lyceum  and  of  the  Empire  com- 
panies. Noteworthy  among  her 
many  creations  are  her  slavey  in 
"Liberty  Hall,"  Bundy  in  "Gudg- 
eons," Miss  Prism  in  "The  Import- 
ance of  Being  Earnest,"  Mine. 
Benoit  in  "Bohemia,"  Mrs.  Voskins 
in  "Lord  and  Lady  Algy,"  Miss 
Yesmama,  with  her  three-legged 
dance,  in  "The  Poet  and  the  Pup- 
pets," and  Queen  Elizabeth  in  Paul 
Kester's  "Dorothy  Yernon  of  Had- 
don  Hall."  For  a  short  time  Miss 
Robson  was  one  of  the  fun  makers 
at  Weber's  Theatre.  Since  1907 
she  has  been  a  star  in  "The  Re- 
juvenation of  Aunt  Mary." 


the 


PHE  name  of  Coghlan 
is     one     which     em- 
balms   some    of    the 
best  traditions  of  the 
American  theatre  dur- 
~"™ing  the   last  third  of 
nineteenth    century.      During 


that  period  Charles  Coghlan  flour- 
ished as  a  forceful  and  polished 
leading  man  and  as  a  writer  of 
plays,  and  Rose  Coghlan  held  a 
foremost  place  among  the  actresses 
of  high  comedy  and  was  unequaled 
in  her  portrayal  of  the  "Woman  at 
I  Say."  In  1893  another  Coghlan 
came  to  the  stage  to  add  new  tra- 
ditions to  the  name  in  the  person 
of  Gertrude,  the  daughter  of 
Charles,  who  made  her  professional 
debut  in  her  father's  company  in 
Detroit  that  year,  playing  the  small 
part  of  Mion,  in  "Diplomacy." 

.Miss  Coghlan  was  born  in  Lon- 
don. She  studied  in  the  Art  School 
at  South  Kensington  and  attained 
considerable  proficiency  in  draw- 
ing and  painting.  Her  first  New 
York  appearance  was  made  at  the 
Fifth  Avenue  Theatre,  December 
21,  1897,  when  she  acted  Juliet  in 
support  of  her  father  in  his  own 
play,  "The  Royal  Box."  Her  suc- 
cess was  considerable,  but  instead 
of  remaining  in  New  York  she 
entered  upon  a  series  of  long  tours, 
generally  as  a  star,  playing  Celia  in 
"The  Royal  Box,"  Becky  Sharp  in 
her  father's  version  of  Thackeray's 
"Vanity  Fair,"  as  Dona  Ana  in 
"Once  Upon  a  Time"  and  in  "The 
Sword'  of  Justice,"  "Alice  of  Old 
Yinccnnes,"  "The  Sporting  Duch- 
ess" and  "One  of  Our  Girls." 

Once  during  this  time  Miss 
Coghlan  was  seen  in  New  York 
when  she  acted  Manuela  in  Mrs. 
Patrick  Campbell's  production  of 
Sardou's  "The  Sorceress."  She 
took  her  permanent  place  as  a  met- 
ropolitan leading  woman,  however, 
after  she  had  appeared  with  much 
favor  in  most  of  the  larger  cities 
of  the  country  as  Shirley  Rossmore 
in  "The  Lion  and  the  Mouse."  In 
1908  she  created  Beth  in  "The 
Traveling  Salesman"  at  the  Liberty 
Theatre  and  the  next  season  played 
Lady  Proudfoot  in  Maugham's 
"The  Noble  Spaniard"  at  the  Cri- 
terion in  Robert  Edeson's  support. 
Miss  Coghlan  is  the  wife  of  Au- 
gustus Pitou,  Jr.,  a  son  of  one  of 
Xew  York's  oldest  managers. 


MJJJ  '    GERTRUDE   "    COGHLAN 


IN   "THK 
'"'     ROSE  OF  THK  KANCHO" 


IVI  C   H    M    A    N 


CHARLES    RICH- 
MAN    was    born    in 
Chicago  in  1870.    His 
first  choice  of  a  pro- 
fession was  the  law, 
~*°*but  while  he  studied 
he  acted  often  in  amateur  theatri- 
cals, until  finally  he  succumbed  to 
the  call  of  the  theatre. 

His  first  engagements  were  in 
small  touring  companies.  This  ex- 
perience lacked  monotony  in  all  re- 
spects except  the  promptness  with 
which  the  companies  disbanded. 
In  the  spring  of  1894  he  secured  his 
first  part  in  a  metropolitan  produc- 
tion, playing  with  James  A.  Herne 
in  "Margaret  Fleming,"  at  the  Fifth 
Avenue  Theatre,  New  York.  From 
his  first  appearance  he  was  recog- 
nized as  a  young  actor  of  genuine 
promise.  After  creating  Gottvvald 
in  "Hannele,"  he  crossed  to  Palm- 
er's Theatre  where  at  various  times 
he  played  in  "Esmeralda,"  "New 
Blood,"  "The  New  Woman,"  "The 
Fatal  Card,"  and  in  support  of 
Mrs.  Langtry  in  "Gossip." 

In  1896  he  became  leading  man 
at  Daly's.  With  Ada  Rehan 
he  played  with  distinction  in  the 
productions  of  "The  Countess 
Gucki,"  "The  Lady  of  Ostend," 
"Madame  Sans  Gene,"  and  "The 
Great  Ruby,"  and  revealed  further 
gifts  as  Orlando  in  "As  You  Like 
It,"  Benedick  in  "Much  Ado  About 
Nothing,"  Ferdinand  in  "The  Tem- 
pest," Ford  in  "The  Merry  Wives  of 
Windsor,"  Bassanio  in  "The  Mer- 
chant of  Venice,"  Charles  Surface 
in  "The  School  for  Scandal,"  and 
Felix  in  "The  Wonder."  He  acted 
with  the  Daly  company  in  England 
in  1897. 

When  Mr.  Daly  died  he  went  to 
the  old  Lyceum,  where,  with  Annie 
Russell,  he  acted  Wolff  Kingsearl 
in  "Miss  Hobbs,"  and  Prince  Vic- 
tor in  "The  Royal  Family,"  two  un- 
alloyedly  delightful  performances. 
In  December,  1900,  he  became  lead- 
ing man  at  the  Empire  Theatre. 
In  this  company  he  acted  Sir 
Daniel  Cartaret  in  "Mrs.  Dane's 
Defense,"  a  distinguished  perform- 
ance ;  Julian  Beauclerc  in  "Diplo- 
macy," Orlando  in  "The  Twin 
Sisters,"  Rev.  Walter  Maxwell  in 
"The  Unforeseen,"  and  Sir  Henry 
Milanor  in  "The  Wilderness." 

Since  1903  he  has  appeared  in 
stock,  on  tour  with  Ada  Rehan,  and 
as  a  star  in  several  productions,  not- 
ably "Captain  Barrington,"  "Gal- 
lops" and  his  own  play  "The 
Revellers."  The  last  character  he 
created  is  in  "A  Man's  World" 
with  Mary  Mannering. 


Jl 


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nil 


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Miss    Cbtyst&l    Herne 

3PHRYSTAL  HERNE 
'  is  the  daughter  of  the 
two  earliest  expo- 
nents of  modern  real- 
istic drama  and  of 
"^"naturalistic  stage 
management  in  the  American  the- 
atre, Mr.  and  Mrs.  James  A. 
Herne.  Her  talents  were  devel- 
oped and  her  skill  was  augmented 
by  her  performances  under  her 
father's  direction  during  her  first 
two  years  on  the  stage  and  his  last 
two  before  his  death.  She  made 
her  debut  at  sixteen  in  an  insignifi- 
cant part  in  Mr.  Herne's  play,  "The 
Reverend  Griffith  Davenport,"  in 
1899,  and  in  the  first  production  of 
"Sag  Harbor''  she  played  Jane 
Caldwell.  After  her  father's  death 
she  played  the  principal  roles  in 
"Sag  Harbor"  and  "Shore  Acres." 
The  first  time  she  acted  a  part 
written  by  any  other  than  her  father 
was  in  1903  when  she  joined  E.  H. 
Sothern  and  played  the  Queen  in 
"Hamlet"  and  Huguette  in  "If  I 
Were  King."  From  this  engage- 
ment forward  she  has  been  a  lead- 
ing woman  with  Nat  Goodwin,  Ar- 
thur Byron,  Arnold  Daly,  and  has 
played  more  than  fifty  characters. 

Among  her  most  important  and 
significant  performances  have  been 
Hippolyta  in  "A  Midsummer- 
Night's  Dream"  with  N.  C.  Good- 
win; in  "Major  Andre"  with  Ar- 
thur Byron ;  Ruth  Clayton  in 
"Home  Folks";  Helen  Warner  in 
her  sister's  play,  "Richter's  Wife" ; 
the  title  role  in  "Candida,"  The 
Lady  in  "A  Man  of  Destiny,"  Glo- 
ria in  "You  Never  Can  Tell,"  Vivie 
Warren  in  "Mrs.  Warren's  Profes- 
sion," Nora  in  "John  Bull's  Other 
Island,"  Raina  in  "Arms  and  the 
Man,"  and  Marie  Deering  in  "Re- 
generation," a  dramatization  of 
Owen  Kildare's  "My  Mamie  Rose," 
with  Arnold  Daly ;  Doris  Chapin  in 
"The  Stepsister,"  Vera  Revendal 
in  Zangwill's  "The  Melting  Pot," 
and  the  name  part  in  "Miss 
Philura." 

When  an  effort  was  made  in 
1906  to  establish  an  endowed  thea- 
tre in  Chicago  Miss  Herne  became 
the  leading  woman  of  the  company. 


as 


•IB 


•IB 


Illllllllllir.  IIIIIIIIIIIKIIII  •  Illlllllllllillll  V  Illlilllillilllli  •  Illllllllllllllll .-  (IIIIIIIIHIIIIII  •  IlllJillllllfllfl  .•lllflllllllllSI 


M  R 

WILLIAM 


IN  "THE  MAN  FROM  MEXICO" 

Photograph  by  Byron 

the    late   seventies 
'  "H.  M.  S.  Pinafore" 
,  enjoyed  a  vogue  which 
is  unique  in  the  his- 
tory   of   amusements. 
In    addition    to    com- 


I 


-•ft 


panics  of  adults  there  were  juvenile 
companies  playing  Gilbert  and  Sul- 
livan's opera  in  all  parts  of  the 
country.  The  fever  caught  Will- 
iam Collier,  in  1879,  then  in  his 
tenth  year,  and  he  ran  away  from 
home  and  joined  one  of  the  juve- 
nile companies.  He  was  Arthur 
Dunn's  understudy  as  Dick  Dead- 
eye,  for  which  he  received  three 
dollars  and  fifty  cents  a  week  and 
one  dollar  and  a  half  extra  for 
handling  baggage.  Before  the  sea- 
son was  over  the  boy  had  played 
nearly  every  part  in  the  opera,  in- 
cluding Josephine  and  Little  Butter- 
cup. 


IN  "THE  PATRIOT" 

Mr.  Collier  comes  from  a  family 
of  actors,  but  after  his  first  experi- 
ence his  father  kept  him  off  the 
stage  and  at  school  from  his  elev- 
enth till  his  fourteenth .  year.  In 
1882  he  engaged  himself  to  Au- 
gustin  Daly  as  call  boy  at  his 
Theatre.  He  remained  there  six 
years,  occasionally  playing  small 
parts.  As  a  dude,  without  a  line  to 
speak,  in  "Samson  and  Goliath,"  he 
proved  so  amusing  that  he  was  en- 
gaged as  a  principal  for  the  clever 
company  which  presented  "The 
City  Directory."  His  part  was  a 
short  one  of  six  lines,  but  he  elabo- 
rated it  until  it  became  the  leading 
part  of  the  piece.  This  ability 
ripened  later  in  several  amusing 
comedies  from  his  own  pen. 

He  continued  to  act  in  farces, 
including  several  by  the  late  Charles 
Hoyt,  without  any  significant  suc- 


IN  "THE  MAN  FROM  MEXICO" 

Photograph  by  Byron 

cess  until  he  created  Benjamin 
Fitzhugh  in  "The  Man  From 
Mexico,"  which  advanced  him  to 
stardom  in  the  year  1901.  His 
comedies  since  then  have  been  "Mr. 
Smooth,"  "On  the  Quiet,"  "The 
Diplomat,"  "Miss  Philadelphia," 
"Personal,"  "Are You  My  Father?" 
"A  Fool  and  His  Money,"  "The 
Dictator,"  "The  Heart  of  a  Spar- 
row," "Caught  in  the  Rain,"  "The 
Patriot,"  and  "A  Lucky  Star." 

Of  these  pieces  he  wrote  "Mr. 
Smooth,"  "Caught  in  the  Rain," 
"The  Patriot,"  and  "Miss  Phila- 
delphia." For  a  while  he  was  a 
member  of  the  celebrated  Weber 
and  Fields  organization.  In  1905 
he  played  "The  Dictator"  and  "On 
the  Quiet"  with  success  at  the 
Comedy  Theatre  in  London,  and 
the  following  year  he  played  his 
most  popular  parts  in  Australia. 


iiiiiiiiiii  ••  iiiiiiiiiiiiiiiii  •  Hiiiiiiiiiiiiiii  v  iiiiiniiii  •  iiiiiiiiiiiiiiiii .-  iiiiiiiiiiiiiiiii  •  iiiiiiiiiiiiiiiii .-  iiiiiiiiiii 


M  I  5  5 

FLORE  NCE 


-ALTHOUGH  Flor- 
ence Roberts  was  born 
in  New  England  and 
within  the  past  few 
years  has  given  per- 
formances of  the  first 
order  there,  she  is  less  generally 
known  on  the  Atlantic  seaboard 
than  on  the  Pacific,  where  she  is  as 
highly  esteemed  as  any  actresses 
who  come  to  them  across  the  Rocky 
Mountains. 

Miss  Roberts  crossed  the  conti- 
nent first  when  a  little  girl  with  her 
cousin,  that  excellent  character 
actor,  Theodore  Roberts,  and  grew 
up  in  San  Francisco.  She  acted 
first  at  the  Baldwin  Theatre  there, 
and  after  two  years  joined  Lewis 
Morrison's  company.  He  was  in 
the  full  swing  of  that  score  of  years 
during  which  he  packed  the  theatres 
night  after  night  in  every  city  on 
the  continent  with  his  famous  per- 
formance of  Mephistopheles  in 
"Faust."  Miss  Roberts  at  first 
played  small  parts  in  this  play,  but 
soon  she  was  promoted  to  the  role 
of  Marguerite,  which  she  acted  for 
nine  seasons.  During  this  time 
Miss  Roberts  and  Mr.  Morrison 
were  married.  He  was  a  seasoned 


actor  of  the  old  school  and  his 
training  gave  her  a  solid  technical 
foundation  on  which  her  fine  intel- 
ligence has  welded  the  best  that 
modern  methods  suggest.  In  their 
vain  effort  to  deflect  the  public  in- 
terest from  the  Devil  they  often 
gave  performances  of  Shakespear- 
ian plays  and  Miss  Roberts  acted 
Juliet,  Rosalind,  Portia,  Katherine 
and  Ophelia. 

Her  engagement  as  a  stock  star 
at  the  Alcazar  Theatre  in  San  Fran- 
cisco during  the  summer  of  1898 
broke  this  business  association  but 
not  the  domestic  partnership,  which 
continued  with  a  rare  devotion  on 
both  sides  until  Mr.  Morrison's 
death.  San  Francisco  made  her  its 
idol  from  that  first  summer  at  the 
Alcazar,  and  she  played  long  en- 
gagements there  under  her  own 
management  every  year,  supple- 
menting them  with  extraordinarily 
profitable  tours  of  the  trans-Missis- 
sippi States.  Miss  Roberts  secured 
plays  and  presented  them  in  San 
Francisco  immediately  their  favor 
was  established  in  New  York,  and 
in  her  list  are  the  only  American 
performances  of  some  European 
successes. 


Among  the  roles  of  which  she 
has  made  herself  the  favorite  inter- 
preter on  the  Pacific  Coast  are 
Sapho,  Tess  of  the  D'Urbervilles, 
Lady  Ursula,  Marta  of  the  Low- 
lands, Lady  Teazle,  La  Tosca,  Nell 
Gwynne,  Nora,  Countess  Valeska 
and  Zira.  She  holds  the  record  for 
consecutive  performances  of  one 
play  in  San  Francisco,  having  acted 
"Zaza"  for  twelve  weeks.  In  1905 
she  began  to  exploit  new  plays  and 
has  produced  "The  Strength  of  the 
Weak,"  "Ann  La  Mont,"  "The 
House  of  Bondage,"  "Maria  Rosa" 
from  the  Spanish,  and  D'Annunzio's 
"La  Gioconda,"  of  which  she  has 
given  the  only  performance  in  En- 
glish. She  has  appeared  in  New 
York  twice  within  the  past  four 
years.  In  1906  she  acted  in  "The 
Strength  of  the  Weak,"  at  the  Lib- 
erty, and  in  1907  she  originated  the 
role  of  Body  in  Edwin  Milton 
Royle's  allegory,  "The  Struggle 
Everlasting,"  at  the  Hackett.  On 
both  occasions  she  was  received 
with  enthusiastic  acclaim.  During 
the  winter  of  1909  and  1910  she 
toured  in  a  repertoire  consisting  of 
"The  Movers,"  "The  Transforma- 
tion" and  "Gloria." 


LSI 


LSI 


LSI 


f  OHN  E.  DODSON 
'  came    from    England 
with    Mr.    and    Mrs. 
Kendal  in  1889.     He 
was  then  an  actor  of 
^long     experience     in 
low  comedy  and  character  parts  and 
he  has  since  added  many  fine  im- 
personations in  American  theatres. 
Among    his    interesting    experi- 
ences were  his  appearances  in  sup- 
port of  J.  K.  Emmet  in  "Fritz"  and 
Joseph     Jefferson     in     "Rip     Van 
Winkle"  when  those  actors  toured 
in  England.     He  played  over  the 
provincial  circuit  for  twelve  years, 
acting  every  line  of  parts.     It  was 
hard  work,  but  compensation  came 
in   1889  when  he  was  engaged  to 
support  Mr.  and  Mrs.  Kendal. 

During  Mr.  Dodson's  second  visit, 
in  1894,  Charles  Frohman  engaged 
him  for  the  Empire  Theatre,  and 
he  created  character  parts  in  "The 
Bauble  Shop,"  "The  Masquera- 
ders,"  "John  o'  Dreams."  "Michael 
and  His  Lost  Angel,"  "A  Woman's 
Reason,"  "Marriage,"  and  "Bo- 
hemia." But  his  best  remembered 
roles  followed,  notably  the  Cardinal 
in  the  dramatization  of  Stanley 
Weyman's  "Under  the  Red  Robe," 
John  Weatherby  in  William  Gil- 
lette's adaptation  from  the  French, 
"Because  She  Loved  Him  So,"  and 
Simonides  in  the  original  cast  of 
"Ben  Hur."  Mr.  Dodson  played 
Launcelot  Gobbo  with  N.  C.  Good- 
win in  "The  Merchant  of  Venice," 
Pierre  in  the  all-star  revival  of 
"The  Two  Orphans,"  Diggory  in  a 
similar  revival  of  "She  Stoops  to 
Conquer,"  and  The  Wandering  Jew 
in  "The  Prince  of  India."  He  cre- 
ated Roland  in  Clyde  Fitch's  "The 
Truth,"  played  Corporal  Brewster 
in  Conan  Doyle's  "Waterloo"  in 
vaudeville  during  1907,  and  did  not 
reappear  on  the  legitimate  stage 
until  April  12,  1909,  when  he  made 
the  most  substantial  success  of  his 
career  as  Sir  John  Cotswold  in 
Hartley  Manners's  "The  House 
Next  Door." 

Mr.  Dodson  has  been  distin- 
guished for  the  detail  with  which  he 
invests  every  part  which  he  plays, 
etching  in  points  with  the  most  pre- 
cise care.  He  possesses  a  counte- 
nance which  lends  itself  to  the 
strong  lines,  and  his  skill  in  make- 
up is  marked. 


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SIR  JOHN  COTSWOLD  IX  "THE  HOUSE  NEST  DOOR 


D  O  D  S  O  N 


•        •        I 
I  •  •  •   • 


IN  "FLCFFY  RUFFLES" 


Aft 


•       •       • 


>».v 


Miss  HATTIE  WILLIAMS 


H 


$ATTIE  WILLIAMS 
is  a  comedienne  who 
has  found  favor 
equally  by  her  acting 
and  her  singing.  For 
a  number  of  years  she 


Photograph  t.y  Frank  C.  Bangs 


has  been  made  conspicuous  as  a  star 
by  Charles  Frohman,  but  this  dis- 
tinction was  led  up  to  by  a  climb 
which  had  its  pauses  on  every  round 
of  the  ladder  of  her  profession. 

Miss  Williams  made  her  first  pro- 
fessional appearance  in  Boston  in 
the  chorus  of  the  musical  extrava- 
ganza "1492,"  in  which  her  talents 
readily  attracted  attention,  and  she 
was  promoted  almost  at  once  to  the 
part  of  the  Infanta  Catalina  for  the 
New  York  run.  A.  M.  Palmer  en- 
gaged her  for  the  dancing  girl  in 
the  original  production  of  "Trilby" 
and  then  Charles  Hoyt  gave  her  a 
series  of  parts  in  his  farces. 

Up  to  this  time  the  public  had  no 
exact  acquaintance  with  her  as  an 
individual  player,  but  she  fixed  her- 
self definitely  in  the  theatre-goers' 
memories  as  a  skilful  comedienne 
by  her  performance  of  the  Girl  in 
"The  Girl  from  Maxim's."  Since 
then  she  has  alternated  comedy 
with  and  without  music.  She  was 
one  of  the  lively  features  of  "The 
Rogers  Brothers  at  Harvard,"  in 
1902,  and  has  since  created  or  been 
the  first  American  player  of  the 
following  parts  :  Vivian  Rogers  in 
Leo  Ditrichstein's  farce,  "Vivian's 
Papas"  ;  Winnie  Harborough,  "The 
Girl/'  in  "The  Girl  from  Kay's," 
Pauline  in  "Yvette"  ;  and  Ilona  in 
"The  Rollicking  Girl.'' 

When  Charles  Frohman  pre- 
sented "The  Little  Cherub"  in 
America  he  placed  Miss  Williams 
at  the  head  of  the  company  as  a  star 
in  the  role  of  Molly  Montrose.  In 
1908  the  "Fluffy  Ruffles"  pictures 
were  given  such  prominence  that 
it  was  decided  to  place  that  mythi- 
cal miss  in  a  musical  piece.  Clyde 
Fitch  wrote  the  comedy  and  it  be- 
came Miss  Williams's  second  part 
as  a  star.  She  omitted  music  from 
her  next  venture,  appearing  as 
Athol  Forbes  in  "Detective 
Sparkes." 


r  V  V"  •"•  •"•  •"•  •' 

^  flRft  ^    •       •       •       • 


•       I 

•  •  • 


AS  CAPTAIN 
BLUiNTSCHLI  IN 
"ARMS  AND  THE 

MAN" 


AS  OWEN 

CONWAY  IN 

"REGENERATION' 


IN   "THE  MAN  OF 
DESTINY" 


ARNOLD  DALY'S 
distinction  up  to  date 
is  the  measure  of  suc- 
cess he  had  in  produ- 
cing a  number  of  Ber- 
nard  Shaw's  plays  in 
America.  Since  the  Irish  play- 
wright's vogue  has  declined  some- 
what from  perihelion,  Mr.  Daly's 
efforts  have  been  discursive  and  in- 
termittent. He  has  not  been  fort- 
unate in  securing  good  plays,  but 
he  maintains  his  courage,  zeal  and 
activity. 

He  was  born  in  Brooklyn,  Octo- 
ber 4,  1875.  He  is  the  son  of  Irish 
parents  and  was  christened  Peter 
Daly.  His  first  engagement  in  the 
theatre  was  as  callboy  at  the  old 
Lyceum  Theatre,  but  his  first  ap- 
pearance on  the  stage  was  made  on 
tour  as  a  butler  in  "The  Jolly 
Squire"  with  Fanny  Rice.  This  was 
in  1892,  and  it  was  after  three  years 


"on  the  road"  that  he  made  his 
New  York  debut  in  Frank  Mayo's 
"Pudd'nhead  Wilson,"  succeeding 
Edgar  L.  Davenport  in  the  role  of 
Chambers.  This  performance  at 
once  attracted  attention  and  there- 
after Mr.  Daly  rarely  lacked  for 
good  engagements  or  failed  to  give 
a  good  account  of  himself.  Among 
many  parts  played  he  created  char- 
acters in  "Because  She  Loved  Him 
So,"  "A  Fool  and  His  Money," 
"The  Bird  in  the  Cage,"  with 
Julia  Marlowe  in  "Barbara  Friet- 
chie,"  in  which  he  acted  the  crazy 
brother.  "Hearts  Aflame,"  "Cyn- 
thia," and  "The  Girl  From  Dixie." 

From  the  time  Richard  Mansfield 
had  introduced  Shaw  to  America  by 
his  productions  of  "Arms  and  the 
Man"  in  1894  and  "The  Devil's  Dis- 
ciple" in  1897,  the  Irishman's  plays 
had  no  place  on  our  stage.  Arnold 
Daly  became  interested  in  acting 


IN  "CANDIDA" 


•"•  M       B^ 

A     IV    N     O      L       D 

v      D     A     L,      Y       * 


several  of  the  other  pieces  and,  sur- 
mounting many  obstacles,  he  had 
the  satisfaction  of  making  "Can- 
dida" and  "You  Never  Can  Tell" 
popular  during  runs  of  considerable 
duration.  He  then  presented  "The 
Man  of  Destiny,"  "How  She  Lied 
to  Her  Husband,"  "John  Bull's 
Other  Island"  and  "Mrs.  Warren's 
Profession." 

After  a  brief  effort  to  establish  a 
so-called  Theatre  of  Ideas  at  the 
Berkeley  Lyceum  where  he  pro- 
duced a  number  of  original  and  ex- 
cellent one  act  pieces,  he  passed 
under  the  management  of  Liebler 
and  Company,  with  whose  co-opera- 
tion he  has  presented  Owen  Kil- 
dare's  "Regeneration,"  which  was  a 
dramatization  of  "My  Mamie 
Rose,"  "His  Wife's  Family,"  T\lc- 
Clellan's  "The  Pickpockets"  and 
a  translation  of  Paul  Hervieu's 
"Know  Thvself." 


O 


rROM    THE     PRESSES    OF 

P.F.COLLIER  G  5ON 

FOR   WHOM    THE   BOOK   WAS 
ARRANGED   AND   DECORATED 

BY     WILL   BRADLEY 
NEW  YORK     A.D.  1QIO 


O 

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